Académique Documents
Professionnel Documents
Culture Documents
E. G. Bartlett
of judo will appeal even to those who consider as far as can be ascertained. The first book ever
that their competitive days are over. published in Japan, the Nihon Shoki or Chronicle
7
INTRODUCTION
of Japan, contains a chapier on wrestling entitled fight a duel, the result of whicb might be
Chikara Kurabe, which means 'superior strength'. accepted as decisive and the battle called off.
The mere title suggests tbat the techniques were Armour was improved in this period, and as
unlike modern judo or even ju-jitsu of a later contestants had to aim for weak and exposed
period, since ju-jitsu and judo enable people of points, the fighting became more skilful. But
inferior strength to defeat those who are stronger tbe wrestling techniques remained much as they
than themselves. had been in the previous period.
There is record of a tournament held in Throughout this feudal period there was rigid
230 BC of Chikara Kurabe, but it was almost class distinction between the warrior and tbe
certainly more like sumo wrestling than judo. common man. Commoners could not bear
From the point of view of the judo student, weapons, and so for their self-defence tbey had
the next two periods in Japanese history, the to learn to fight bare-handed. This contributed
Nara period (AD 720 to 793) and the Heian to the development of tech niques.
period (AD 794 to 1140) can be grouped together. In th e next period, the Tokugawa period from
It was during these periods that the Japanese 1602 to 1868, outside influences were suppressed
capital was establisbed, first at Nara and then in J apan and when Hideyoshi became regent, be
at Heian; Buddhism and written language came brought peace to the cou ntry and the armies of
to Japan, and the Fujiwara and later the samurai samurai became unnecessa ry.
clans took over administrative power. Japanese It was during this period that the first school
wrestling was invented in this period, and Sukone of ju-jitsu appeared. It was founded by Hisamori
Nomi compiled the system known as 'sumo' Takeuchi, who based his techniques on those of
which is now very much a national sport in Yoroi Kumiuchi. Sumo and ju-jitsu nOw became
Japan. This is the form of wrestling in which two definitely independent studies. A professional
big men, trained from birth for the r6le, try to SU 111 0 association was set up and many judo
push each other out of the ring. schools apart from Takeuchi's were founded.
The wrestling techniques of this period were Towa rds the end of this period there are said to
very wild and rough. There were kicks and have been over three hundred different schools
chops sllch as we QOW associate with karate, and theories of ju-jitsu. The differences between
and contests frequently ended in death. Some of the schools were often quite minor ones. A
the sumo throwing techniques do, however, bear teacher would become known as a specialist in
a resemblance to judo throws. certain techniques and would build his system
The next period , known as Yoroi Kumiuchi around th em.
No Jidai, is a most important one since it saw There was a rigid code of conduct and dis-
the emergence of the sam urai , or warrior class. cipline in these schools. Often a pupil would
It was a feudal period in which from time to have to enter a master's home as a servant, and
tim e different families would corne to the fore, prove his wortbiness by se rving for a long period
having deposed their rivals in the seats of power. before the master would consent to teacb him.
It lasted from AD 114 1 to 1526. The samurai Ju-jitsu was taught under vows of secrecy and
at their best were knights with a code of honour pupils had to swear never to misuse their art.
and etbics comparable to King Arthur's Knighis The last period to consider is tbe Meiji period,
of the Round Table. At their worst, they were wbich extends from 1868 to the present day. The
wandering thugs whose swords were for hire. Emperor Meiji regained sovereignty from the
They studied the philosophy of life as well as Tokugawa clan in 1868 and a distinct decline in
the martial arts and tbe influence of their native tbe martial a rts followed. The wearing of swords
religions, Shintoism and Buddhism, can be seen was abolished by decree in 1871. and a policy of
in their attitudes. Their main weapons were, of westernisation began in Japan .
course, the sword and spear, but they also Whilst. at the beginning of tltis period, ju-jitsu
learned to fight with bow and arrow and with schools were st ill flouri sh ing, these too soon
helmet. Before a battle between tbe clans, it was began to die out and the survival of the art is
the custom for the champions on either side to largely due to Professor Jigoro Kana. Born in
8
INTRODUCTION
1860, he became interested in ju-jitsu because he practice and effort must be the purpose of help-
was of small stature and had learnt that the ing your partner in his studies.
techniques enabled such as he to hold their own Dr Kano died in 1938, after a visit to the
with bigger men. H e studied under various ju- Uni ted States to discuss bringing the Olympic
jitsu masters and selected the best techniques Games to Japan. Not until twen ty-six years later
from them all to create his own system, which did judo become one of the sports featured at
he called 'judo'. He says that 'the old style was the games.
not developed for physical ed ucation or moral The national body of the judo organisations
and intellectual training. The latter were not hing in Japan was the Butoku Kwai. founded in 1895.
but the incidental blessings of the former, wh ich It catered not only for judo. but for the other
was exclusively devised for winning', He found martial arts such as kendo (swo rd fighting),
much to disapprove of in the old ju-jitsu schools. aikido, kyudo etc. It had a membersh ip of over
Dangerous techniques were pract ised, which three million. More recently, the lnternational
sometimes resulted in injury. Supervision of Butoku Kwai has been started by Kenshira
schools had become poor, and senior pupils Abbe, who was one of the instructors in the
would bully or pick quarrels with less well original organ isation. and when the first inter-
advanced pupils. Some masters would present national judo championship was held in Tokyo
public exhibitions for money. This kind of degra- in 1956 it attracted entries from twenty-one
dation of the ancient martial arts was repugnant countries.
to Dr Kana, and it was largely for this reason There is no single national body in any coun-
that he found a new nam e for his system. He try toda y. Tn Britain , there are th ree main
called it judo, the name by which it is now bodies: The British Judo Association, The
generally known througllOut the world, and the Amateur Judo Association. and the British Judo
spread of the art has largely been due to Kana Council. as well as minor organisations and
and his pupils. independent teachers and schools. The European
Kana's first praclice hall was a n old Buddhist countries and the United States also have a
temple. He founded the school in 1882, with a number of nalional organisat ions. Some are
mat area twelve feet by eighteen feet, wh ich is linked with the Butoku Kwai: others are not.
smaller than some provincial British clubs would Th e differences between teachers and schools is
consider adequate today. The two principles largely one of emphasis. Standards are roughly
which became the basis of his system were ' ma xi- similar.
mum efficiency-minimum effort', and 'mutual In this book, we shall study first the basic
aid', and these express the basis of his thought. principles and methods of fa ll ing: then the forty
In terms of modern mechanics. you must get a basic thro ws of Dr Kana's system (The Gokyo);
mechanical advantage from your techniques. If then the basic groundwork movements, and
yo u overcome purely by strength, then you will finally three of the katas. or formal demonstra-
not be able to overcome anyone whose strength tions of the art. The latter are essential to pre-
is superior to your own. You must win with th e paration for the Black Belt exam ination.
minimum of effort. And at the basis of all your
9
CHAPTER ONE
Basic Principles
Judo is basically an art of self-defence wi thout the next, but considerable power of discretion is
weapons, based on the old ju-jitsu techniques given to the examiner.
but modified by Dr Kana to exclude the more After reaching the highest student grade, the
dangerous ones. pupil is encouraged to go in for the black belt
It is practised on a mat~ which takes some of of the master, a process which generally takes
the shock out of falling. The Japanese mats are as long again as moving up the kyu grades.
made of rice straw, but substitutes sometimes Brown belt is considered to be haJfway to black.
used in western countries may be made of wheat The black belt is worn by masters holding the
straw, or rope, or of rubber. Usually these are degree of first dan and above, up to fifth dan.
covered by a canvas sheet stretched tight. The high er the dan the higher the degree. Sixth ,
Students wear a special suit, called a judogi, seventh and eighth dans wear a red and white
which consists of a thick cotton jacket, trousers belt. Ninth and tenth dans wear a red belt, thus
that come to just below the knees, and a belt completing a full circle and coming back to the
or sash to wrap round the jacket and secure it, beginner's colour. Few people get that far, how-
since there are no buttons on allY garment to ever, so there is no risk of confusion. On ly seven
injure the student or his partner. Suits are white, men, all Japanese, have ever been awarded tenth
and cleanliness of attire is demanded as a mark dan and first dan is probably the limit of most
of respect to one's teacher and opponents. European men 's ambition. Only Dr Kana him-
The belt, or sash, is approximately nine feet self has ever held a grade higher than tenth dan.
long and coloured, the colour denoting the grade He was twelfth, and held the title 'Shihan'. A
of tbe wearer. Beginners are distinguished by twelfth dan wears a white belt to i,ndicate that
a red belt and it is traditional to take special he is above both 'kyu and dan grades, but it is
care of them when practising since it is con- wider than that worn by 6th kyu.
sidered disgraceful to injure a beginner or any- The purpose of wearing clothes when practis-
one of a lower gl ade than oneself. The student ing judo is to simulate a real life situation. If
stages are then: white belt (6th kyu), yellow belt a man attacks you in the street, you will know
(5th kyu), orange belt (4th kyu), green belt (3rd how to use holds on his jacket or trousers which
kyu), blue belt (2nd kyu), and brown belt (lst will be more effective than grasping bis wrist
kyu). Progress to this stage would demand about or neck. Judo throws can , of course, be adapted
two to three years' practice of seve ral nights a to an opponent who is stripped to the waist, but
week. Grading tests consist in part of contest, in general it is assumed that an opponent will
and in part of theor y examination. The grades be wearing normal dress.
up to green belt do not depend on contest HOLDS
results. though contests are included in the tests The normal holds on the opponent are taken
to see how the student reacts under stress. Blue in the following order. Stand facing him in an
and brown bell grades, however, do depend on upright posture. With the left hand, catch his
contest success. The general standard is to defeat right sleeve just under the elbow from under-
three of one's own grade in order to move up to neath , with the thumb outside and fingers in.
JO
With the right hand, catch his left lapel, fingers
outside, thumb inside, just below his left collar
bone. He takes exactly the same holds on your
jacket. See Figure 1.
These holds can be varied, as we shall see when
studying the throws in Chapter 3, but the above
is the tradi tional starting point.
STANCE
The basic natural stance (shizen hontai) is as
~~- .~
follows: Stand upright with the hands banging
loosely by the sides and the feet about twelve •
inches apart. Relax. See Figure 2.
From this position advance th e right foot
about twelve inches in a natural movement for-
wards, and stand with the weight evenly dis-
tributed between the feet. This is known as the
right natural posture (migi shizentai). If, in stead,
you advance the left foot, you will be taking up
the left natural posture (hidari shizentai). 2
Tbe other three postures a re the basic defen-
sive posture (j igo honta i), the right defensive times. Do not on any account cross the legs,
posture (migi jigotai) and the left defensive pos- unless yo u are attemptin g a throwing technique
ture (hidari jigotai). These are exactly the same and the opponent is off balance.
as the basic natural stances except that th e Movements are generally made as follows:
knees are slightly bent and the stomach is thrust first , move one foot forwards~ say the right; now
forwards and downwards at an angle of 45 bring the left nearly up to it , but not passing it ;
degrees. The angle at which the knees are bent now move the right again; now bring the left
should be 140 degrees. nearly up to it, without passing it. This form of
Taking these defensive postures under attack progression is known as 'tsugi asbi'.
will often of themselves stop throws being exe- To turn, spin on the heel or the ball of one
cuted on you and will leave you ready to counter- foot whilst taki ng the other round it with the
attack. body in a small circle. Avoid spreading the feet
MOVEMENT 100 widely when doing these turns.
When moving about the mat, slide the feet, Diagonal mo vements forwards or backwards
keeping the sale of the foot as near the ground tend to be safer than ones directly forwa rds or
as possible, brushing or 'scuffing' the mat with directly to either side.
it. If you lift you r foot off the ground you are in Remember that the nat ural movement is
greater danger of becoming unbalanced. always part of the arc of a circle. Think in terms
Do not bring the feet close together, but try of being at the centre of a circl e yourself and
1 to keep them the natural distance apart at all moving your opponent around the ci rcum-
ference. The applicat ion of this will be evident
in the throwing techniques described in Chapter
3.
BREAKING OF BALANCE
When a man stands upright and is in the basic
natural stance or in any of the stances described
above, he is on balance and relatively safe. In
order to throw him, or to apply any other tech-
niques successfully, you must first upset his
equilibrium.
11
BASIC PRINCIPLES
To do this you must get his centre of gravity to either side to take it outside tbe edge of your
outside tne rectangle lhat you can imagine drawn foot, and once this has been done you are off
a round his feet to enclose them. U you picture balance in that direction .
this rectangle, yo u will see that the shortest The pull or push that breaks the opponent's
distance his centre of gravity could be moved balance sbould always be slight, just enough
to effect this is directly forwards. You would a nd no more. If you make it a big or violent, or
need to pull him by stepping back and using both even a sudden action, you will warn him of your
your hands, so that his stomach came rough ly intention and, if he is quick enough, he will
in advance of his toes. Stepping towards him and recover. The actual throwing action, once your
pushing wou ld again take his centre of gravity opponent has become unbalanced, is known as
outside his heels and break his balance back- 'kake',
wards. Although fo r the purpose of description we
Balance, of cou rse, can be broken in any separate the unbalancing Jrom the throwing
direction. T here are 360 degrees in the circle of action , the two flow in a continuou s action .
possibilities. but in judo we generally think of There is no break or pause. To successfully
eight possible direct ions: directly forward s, throw the opponent, his balance must first be
directly backwards, to the left side, to the right broken and this can be done either by a gentle
side, diagonall y backwards to the left, diagonally pull or push as described above, or it may arise
backwards to lh e right , diagonally forwards to as a result of his own actions. When we speak
the left side and diagonaUy forward s to the of pulling or pushing, the action must be made
right. with your whole body. Think of your arms as
Consider the natu re of you r own balance. ropes which join your body to his. To pull him ,
When you stand upright in the natural stance yo u must first move away sufficientl y far for the
yo ur centre of gravity is roughly at the level of ropes to become taut, and then a l ittle fa rther to
your stomach, and your weight acts downwards start pulling. The arms are never stiff like rods.
at a point midway between your feet and mid- U they are, you use only the power of your
way between your heels and toes. If, from this arms, instead of the whole weight of your body.
position , yo u are slightly unbalanced forwards, THE PRI NCTPLE OF JU
you r greatest weakness is directly forwards , that This is the principle of gentleness. The basic
is at righ t angles to an imaginary line drawn idea in judo is never to resist an opponent's
through your feet. movements, but to yield so as to turn them to
If you slan d in the right natural posture, that his disadvantage. U, for example, he pushes you,
is wit h yo ur right foot adva nced, then your the natural reaction is to push back. Do this,
balance could be most easily broken diagonall y and the strongest or heaviest man will win. But
to your left front , that is at right angles to the if, when he pushes, you yield to his push, moving
imagina ry line drawn through your feet. You away from him, you draw him off balance in a
will see th is if yo u sta nd a pair of compasses up forwards direction by bringing his centre of
on your desk. Th ey will rail either directl y for- gravity in front of the line drawn through his
wards or directly backwards. but alwa ys at right toes. You can then easily tbrow him with such
angles to a line drawn through the two points of movements as 'uki otoshi', described in the chap-
support. ter on throws. Similarly, when he pulls, move
Breaking of balance is a vital aspect of judo. quickly towards him so tbat you are pushing
It is k.nown as 'kuzushi' when speaking of the him.
man who is unbalanced by the mo veme nt, a nd COURTESIES
'tsukuri' when referring to the man who does It is traditional in the judo world to show
the unba la ncing. courtesy to your instructor, to your partners,
Again considering the nature of balance, you and even to the place where you practice. This
will see why it is inadvisable to bring you r feet is done by bowing. There are two ways, the
together. With such a stance your centre of standing bow and the kneeling bow. Both have
gravity has only to be mo ved a short distance the same purpose, to show respect, and it is a
12
matter of custom, varying from place to place,
as to which is used and when.
To make the standing salutation, the partners
stand about six feet apart, heels together, hands
hanging naturally at sides, and bow simul-
taneously from the waist. The bow is very slight,
fifteen degrees from the vertical. The hands
slide down the sides of the legs and the fingers
are kept open. Ladies are permitted to let their
hands slide down the front of their thighs when
making this bow; men are not. See Figure 3. 4
For the kneeling sa lutatio n, partners kneel pected of judo students. They must never misuse
facing each other at a distance of about six their art. show off. or bully anyone inside or
feet, with the insteps close to the mat, and sit outside the hall of practice. They must take
back on their heels. Their hands at this point are care not to injure lower grades wilen practising
resting on their thighs. Together the y bend for- with them. They must be scrupulously clean and
wards, placing the hands ftat on the ground keep their finger and toe nails short. Before
under their shoulders, with the fingers turned bowing, a judo student would adjust his jacket
sligh tl y inwards, and bend fo rwards from the and belt , so that he was neatly and properly
waist to take the back of the head as low as the dressed , as a mark of respect to his partner.
shoulders. The toes are together when making The hall of practice is known as a 'dojo'.
this bow. See Figure 4. Professor Kano's dojo was originally a Buddhist
Before making either of these salutations, temple, and judo students still tend to regard
students should pause a moment and call to their dojos as near-sacred places. They are halls
mind the purpose of the bow. It is not to be for study, and a student should never talk loudly
made casualJy, or without meaning. There must or play around, or do anything that might dis-
be genuine respect behind it. tract or disturb those who have come there for
The times the bow is made are as follows: practice. Before entering , students should put
when entering or leav ing the hall of practice, aside thoughts of rivalry or of malice towards
before and after practice by the class to the anyone there. Co-operation alld helpfulness must
instructor. before and after each individual he the ruling spirit. so tbat all wlto come may
practice to the partner Or opponent, and to the feel they are amongst friends whose purpose it
place where honoured guests are seated when is to help th em all the way to betterment. It is
a display is being given for their entertainment. true that contest form s part of training, and in
Always it must be made gravely and with thought contest the greatest help and the greatest respect
of its purpose and meaning. you can show to your opponent is to do your
GEN"ERAL BEHAV1QUR best to defeat him . But underlyi ng tilis wish to
The highest standards of behaviour are ex- defeat him at that moment, lies the long-term
3
aim of helping him to improve his art.
METHODS OF PRACTICE
There are four methods of practice :
I . Standing Movements. This is the way in which
throws are first learnt. The partner simply
stands still and relaxed, and allows you to
practise the throwing movement against him
without offering any resistance. When he
falls, he practises the breakfal!. Usuall y
partners do ten throws on each other, in turn,
or rather ten repetitions of the same throw.
Hundreds of thousands of repetitions are
13
BASIC PRINCIPLES
needed with every movemenl, and to achieve 3. Contest. This, as its name implies, is com-
these numbers more rapid ly partners do not petition to see who can defeat whom. Usually
always complete the throw in this fo rm of a contest lasts anything from th ree to five
practice. They simply move into position, minutes, or until o ne of tb e contestants gets
pick the opponent clear of the ground, put a point. A point is give n for a good clean
him down on his feet , move OU L, and in again. throw. Half a point or less may be awarded
Beginners are better advised to complete the for a good attempt. On the ground, a point
throw. however. so tbat the one being tbrown can be won by holding for thirty seconds in
gets practice in falling. a recognised holdi ng (see Chapter 4) or for a
2. Randori . This is the name for free practice submission. If no point is scored the referee
on the move, a nd it must not be confused or judges can decide th e contest on style,
with contest. Opportunities are given to try attitude, fighting spirit a nd such like.
throws and resistance is varied according to 4. Kata. This is a formalised practice of throws,
skill. There is no wi nner or loser. so partners groundwork or self-defe nce, and is more fully
can relax and lry out the movements learnt described in later chapters.
as standing throws when on the move.
14
CHAPTER TWO
Breakfalls
Breakfalling is the art of falling witho ut hurt- in front of you, resting your left hand on your
ing oneself, so that the instructions given in th is left thigh. See Figure 7. Cross your right arm
chapter could also benefit people who ha ve no over yo ur chest.
in tention of e ve r practising competiti ve judo, Now bend your right knee, sit as near the
The commonest causes of injury when people heel as possible and roU back as fo r the back-
fan down in the street are letting the head lIop wards breakfall, taking care to keep your chin
back so that it hits first, or putting out a hand tucked in and to look at your belt so that your
to save oneself and so damaging th e wrist or head does not flop back and hit the mat. Let
arm. Knowledge of break falling would avoid your feet come up and as your shoulders hit the
either of th ese mistakes. mat strike it with your right ar m as before at an
There are four basic breakfalls : ang le of 45 degrees, palm down . See Figure 8.
1. The Backwards Break/ all (Ushi ro Ukemi) This breakfall , made with the right hand, is
This is best practised by taking up th e crouch- known as 'the r ight side breakfaU'. If you
ing position shown in Figure 5, with the hands reverse the directions and do it with the left
crossed in front. hand, it is ' the left side breakfall' .
Look at your belt, so that your chin is tucked 3. The Forward Rolling Breakfall (Zempo Kai-
in, and yo ur head will not lIop back and hit the ten Ukemi)
mat. Now sit as near your 11eels as possible, roll From the normal standing position, advance
back onto your shoulders, letting your feet come the right foot, bend the knee , and place botb
up, and as your shoulders hit the mat, slap the hands on the ground, fingers pointing inwards.
mat on either side with your whole arms , palms See Figure 9.
down, at an angle of 45 degrees from the body. From this position, push yourself off with
See Figure 6. your left leg, roll directly forwards, head over
Make sure yo ur arms are at the right angle heels, and land on your back in the side break-
to the body. ]f they are too far away, you risk fall position, slappiog the mat with your left
injuring the shoulder; if they are (00 close, you hand at the same angle as in the side breakrall.
risk falling on them and injuring the arm. Swing See Figure 10.
the arms loosely, not tensed, and you will find This is known as ' the right rolling breakfall'.
that they bounce off the mat. ]f, when you land , If you reverse the directions by putting your left
your arms stay on the mat, you are holding them leg forwards , pushing off with your right leg and
too tensely. The harder you slap the mat the slapping with your right hand, you are doing
better, since the slap absorbs part of the shock 'the left ro lling breakfall '. Both are needed, of
of falling. course, and botb shou ld be practised.
When you can do this from a crouching posi- 4. The Front Breakfall (Mae Ukemi)
tion, do it from a position haLf way to standing, This is little used to day and is a survival of
and later from a fu U stand ing position. the ju -jilsu days when it was permissible to
2. The Side Break/all (Yoko Ukemi) throw the opponent forwards onto his face. Tllis
Stand upright. Raise the left leg straight out is no longer allowed , so that the only use of the
15
5 7 8 6
11
front breakfall is where a rolling break fall would
be th e normal action but you are too close to
the ground to do it.
In the front breakfall, you land on your fore-
arms and hands, wh ich are tu rned inwards in
much the same position as for the kneeling bow,
and on tbe toes of your feet. Your body is
straight and off tbe mat, so that nei ther your
nose, your stomach, nor your knees hit the mat.
I! is best practised first by kneeling down, bend-
ing forwards and striking the mat with the fore-
arms in the right position. When you can do
9
that, combine it with shooting out the legs,
spreading them and com ing up on the toes.
10 From here, move on to simply falling directly
....- - - - - - - - - - - - - - - - - -- - - . . , forwards, and then at a later stage giving a
little jump into it. Figure II clearly illustrates
th e position of landing.
These break falls are used when landing from
any of the throws described in tbe next chapter,
and the student should gain confidence in doing
tbem before being tbrown. Initiall y, it is best if
he is on ly thrown by a teacher, who can put him
down gen tl y, until he has gained con fidenc e in
breakfall ing. He should not do 'randori', or fre e
practice, until he is proficient in all the break-
falls on either side.
17
THE GOKYO
trips over you r outstretched foot. As he falls , knees should be bent an d your right hip should
pull down wit h your left hand to encourage the project beyond his just eno ugh for you to pick
falling motion and, of course, Lift sl ightly as he him up on it when yo u straighten yo ur knees.
lands to enable him to break fall . See Figure 17. See Figure 22.
4. Fioaling Loin fl ip Thrmv (Uki Goshi) Throw by cont inuing to turn , bringing him
Step in wit h your right foot to a point midway over yo ur hi p and down in fronl of you. See
between his feet, turni ng yo ur body so lhat your F igure 23.
right side is aga inst his chest and stomach. Al 7. Major /n/1er Reaping (0 Uchi Gari)
the same time give a lifl pull with yo ur left hand Step in towa rds him, with your left foo t, turn-
and let go wi th your right hand and slide it ing yo ur rigbt side to him. T he foot is placed
around his back on th e level of his belt. This pointing across his body towards his right and
hand and the pull of your left holds him tight about a foot in front of his toes. Pull forwards
against your side. Bend you r kn ees slightl y as with yo ur left hand and with yo ur right push
you m OYe in. See F igure 18. over his shoulder and down, so as to pin his
No w throw by straighteni ng your knees to weight on bis left heel. See F igu re 24.
bring him off the ground and continuing to turn. Insert your right leg between his and use it
Turn your head and let your whole body fo llow. to sweep away his left, on which his weight is
See Figure 19. pinned, The movement is a circular one. Take
He should land in front of you and directly his leg out sl ightly and then forwa rds. Whereas
across you r feet, though Dot on them , of course. in all the throws described so far the partner
5. Major Quter Reaping Throw (0 Soto Gari) falls with a left sid e breakfall, in this throw he
Your partner's .feet are on a li ne. Step in with does lbe backwards break fall, unless you retain
you r left foot onto the same line and place it the bold on his right sleeve, in which case he
just outside his rig ht. With your right hand push might be turned into a left side break fall. See
up over his shoulder and down towards his right Figure 25 for tb e throw.
heel. With yo ur left hand push down towa rds 8. Shoulder ThrolV (Seoi Nage)
his right heel. Take your head and your whole Lift and pull his ri ght a rm with your left, at
body in , so th at you are looking over his right the same lim e stepping in witb your right foo t
shoulder at the ground and your right shoulder to just in side his ri ght and turning on it. As you
is pushi ng against him , thus using th e weight of turn yo ur back to him bring your left foot back
your body as well as your hands. The effect of inside his left , with your heels on th e same line
all these act ions is to pin the partner on his as his toes. and at th e same time thrust your
right heel. See Figure 20. right sboulder under his rigbt a rmpit. With your
Now swing your ri ght leg through the gap right ba nd let go the hold on his lapel as yo u
between yo ur left and his legs an d use it to sweep start to move in and. in stead, catch his jacket
away his right leg on which he is supported. The hi gh up on the right shoulder. Bend yo ur knees
action should be a sweeping one, not a hook or as you move in. See F igu re 26.
a kick. The point of contact is between tbe back To throw, st raighte n your knees to lift him
of your right thigh and lhe back of his. Turn on yo ur back. Continue turning and thro w him
slightl y to you r left as you throw. See Fig ure 21. ove r your right shoulder to the ground. The
6. Major Hip Throw (0 Goshi) action- is like having a sack on yo ur shoulder
Lift and pu ll slightl y with both hands so th aI and shrugging it off. You do not take him
th e partn er comes onto his toes. This is a rocking dire ct ly oyer and onto his head, but rather
motion and very gentle, or he will see what is a round yo u and certainly onto his back. See
com ing and -resist. Step in w ith you r right foot Figure 27.
to just inside his right. Take you r righ t hand
behind his back an d place it on his right shoulder SET TWO
blade as you turn you r back to him. Bring your 1. Minor Quier Reaping Throw (Ko Soto Gari)
left foot back around in a small circle and place You r partner's feet a re on a line. Step first to
it just inside his left. In this position both your his right side with yo ur left foot and th en in w ith
21
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1/
'I
20 21
ZZ 23
24 26 27 25
30 31 29
THE GOKYO
right foot. Turn your body at the same time wiU fall over your outstretched leg. Maintain a
and take you r right foot back, pulling on his strong pull wi th your left hand from start to
left lapel with your rigbt hand and lifting slightly. finish of this movement. See Figure 39.
The effect of this is to make him advance his 7. Sweeping Hip Throw (Harai Goshi)
left foot. See Figure 36. Break the partner's balance directly forwards
With your left hand push towards his body with a lift pull on his right sleeve with your left
and continue your turn. This will lead blin to band and a pull on his lapel with your right.
move bis right foot up to bis left. As he does so, Step in with your right foot to just inside his
turn your left foot and place the sale against right, turning on it to take your left back to
the outside of his right foot, pushing it into his just inside his left. This is as fo r the hip throws
left. Lift with yo ur right hand a nd pull down previously described. With your right hand, let
with your left. These actions must be simul- go his lapel and take it behind his back onto
taneous and timed to coincide with his movement his right shoulder blade. Now sway your weight
of his right foot. The effect is to sweep him clean onto your left leg so tha t you can ra ise the right
off the ground. See Figure 37. leg off the ground. See Figure 40.
With opponents who are incautious enough to Turn and with your outstretched right leg
bring their feet close together, or wh o skip sweep his right leg backwards and up, throwing
around, this throw can be done simply by sweep- him down in front of you. Note lhat Ihe sweep
ing the foot they are bringing up into the otber must be made wit h the back of your thigh
and pulling down with tb e hand on that side and against his thigh. ft must not be a hook at tbe
lifting with the hand on the other side. Few level of lhe shin or ankle. See Figure 41.
experienced men will make these skipping move- 8. Inner Thigh (Uchi Mata)
ments of tbemselves , however, or bring th eir Pu ll gently on his left lapel with your right
feet too close together, and you have to try and hand to lead him to advance his left foot. As he
make them as described above. An effective does so, step in with your left to a point about
variation of the right-hand lift is to let go the midway between his legs. Pull his right sleeve
lapel and lift under the left armpit. It is very towards your left side. Insert your right leg
strong and almost invariably makes the opponent between his legs so that you can use it to sweep
bring bis right foot up close to his left. his left thigh from the inside. See Figure 42.
6. Body Drop (Tai Otoshi) Now, as he is about to transfer his weight
Take your left foot back around you in a from his right leg to his left, sweep his left
small circle and place it to point in the same upwards with your right thigh from the inside
direction as the partner's toes and about a foot and turn him off your leg with the combined
in front of bis left foot. Turn your body at the action of both your hands. See Figure 43 .
same time and pull strongly on his right sleeve The above description of th e throw is as it is
with your left hand. The pull is with the whole usually performed today. It can also be per-
of your body turning, not just with the hand formed more clearly, howeyer, as a foot throw
alone. With your right hand, lift and bring for- in the following manner. Step back and around
wards so that the partner's weight is brought with your left foot to a point just outside his
onto his right toes. At this stage. bring your left and on Ihe same line, turning your body as
right leg across and place Ihe toes on the ground yo u do so. Break his balance forwards with a
just outside his right foot. Your right leg now pull on his right sleeve with your Jeft hand and
blocks his advance. See Figure 38. by lifling and turning your right wrist forwards.
The point of contact between yo ur leg and the This balances him on his toes. Insert your right
front of his shin must be low down. If you are leg between his as previously described. See
too high up he will block your attempt by bend- Figure 44.
ing his right knee. There must be no body Now, continue to turn to your left, lift his
contact between yo u and there should be a left leg from inside his thigh with your right, or
straight line down your right side from heel to a little lower down than the thigh, pull forwards
head. To throw, simply continue to turn and he and downwards with your left band and turn
27
36 38 39 37
40 42 43 41
THE GOKYO
him off your outstretched right leg with the com- parallel with yours. See Figure 51.
bined action of botb your hands. See Figure 45. It is essential to use your hand movements to
turn your partner onto his back when perform-
SET THREE ing tbis throw. Not only is it forbidden by tbe
1. Minor Ouier Hook (Ko Soto Gake) rules to bring him down onto his r ight shoulder,
With your rigll1 foot, step forwards to a point but it will break his right collar bone if you do.
midway between your partner's legs. With your So be very careful. It is for this reason that this
left hand push down towards his right heel. Take throw and others listed at the end of this chapter
your right hand, holding 11is lapel up and over are banned to grades below brown belt.
his shoulder so that your wrist rests on his 4. Leg Wheel (Ashi Guruma)
shoulder, and continue the movement down This is usually performed when the partner
to his rear. This has the effect of pinning him has his right leg to the rear and is about to bring
on his heels. See Figure 46. it forwards. Step back and around with your left
With your left leg, hook his right behind the foot, placing it on a line drawn through your
knee, from outside and pull it forwards as your opponent's feet, witb the toes pointing in the
hands continue to push him backwards and same d irection as his and just outside his left
down. See F igure 47. foot. With both bands tilt him onto his toes,
It is essential that your hands definitely pin breaking his balance at right angles to tbe line
bim on bis heels. not simply push back , other- drawn through his feet and in a forwards
wise he will step back and so escape. direction. Stretch out your right leg and place it
2. Lifting Hip Throw (Tsuri Gosh i) in front of his, so that it blocks his advance,
Pull with your left hand in a lift pull to break above the knee of his left leg and below tbe knee
the partner's balance to the front. Step in with of his right leg. Your right toes are not on the
your right foot to just inside his right and turn ground. See Figure 52.
on it, taking your left back to just inside his left. Bend forwards slightly from the hips to tilt
With your right hand let go his lapel, pass it over him still further over his toes and, as he loses
his left arm and grasp his belt at the back. See balance, turn to your left. Tben, with the action
Figure 48. of your hands and the turning of your body, tbrow
You should bend your knees slightly when him forwards over your outstretched right leg.
executing the above movements. Now straighten See Figure 53.
your knees and with a strong pull with both Note particularly tbat your right leg simply
hands bring his body into tight contact with blocks h is advance. It does not sweep his legs
yours. Turn and throw him over your hip. See back. You will find that the throw can almost
Figure 49. be performed without the use of tbe leg. He is
If tbe partner is much shorter than you, you tilted onto his toes and will fall by your body
can pass your right arm over his left shoulder to turn alone if he does not save bimself by advanc-
grasp the belt. A strong lift on the belt tben ing his right foot. Your leg stretched across his
brings him up onto your hips. n is not permis- stops him making this movement, which would
sible to hold the belt continuously in contest, save him.
but it is permitted to catch it for the performance 5. Spring Hip ThrolV (Hane Goshi)
of this throw. Break your partner's balance to the front with
3. Side Drop (Yoko Otoshi) a lift pull on his right sleeve with your left hand
By pulling down on the partner's right sleeve and a pull with your right hand. Step in with your
with your left hand and lifting on his lapel with left foot to a point midway between his legs. Raise
your right hand , break his balance directly to your right leg and, bending it at the knee, place it
his right side. Slide your left foot in to just out- across the front of bis legs with your right knee
side his right ankle and fall onto your own left projecting beyond his right knee. Let go with
side. Sec Figure 50. your rigbt hand and pass it round his back. Witb
Pull him to your left with both hands and he both hands hold his body tight against your right
will fall to your left side with his body almosl side and on his toes. See Figure 54.
30
44 46 47 45
- ,- .....
52
I
THE GOKYO
Holding him tight against you, sway your the opponent is likely to fall on top of you and
weight to your left, lifting him clear of the start groundwork. See Chapters 4, 5 and 6. Judo
ground, and turn , bringing him over you r right students tend to specialise in standing techniques
hi p and down. See Figure 55. or groundwork. so if you are not very good on
Your bent right leg helps to lift him. the ground avoid resorting to sacrifice throws.
6. Sweeping Drawing Ankle (Harai Tsurikomi 8. Shoulder Wheel (Kata Guruma)
Ashi) Pu ll on your partner's right sleeve with your
Step back diagonally to you r right rear with left hand so that he advances his right foot. As
your right foot, turning it to point towards the he does so, step in with your right foot between
opponent at an angle of 45 degrees. Pull forwards his legs. Bend your knees and lower your body.
and upwards with yo ur left hand on his right Put yo ur right hand between his legs and grasp
sleeve, and lift and pull with your right hand his trousers behind his ri ght thigh. Put the back
on his left lapel. T he effect is to break his balance of your head against his right side at about his
towards his right front corner, so that he wants belt level. As you are doing this, change your
to step forwards with his right foot to regain left hand hold on his right sleeve from an outside
his balance. Up to this point the throw is exactly grip to an inside grip and pull it towards your
the same as the Propping Drawing Ankle Throw, left chest. See Figure 60.
described in Set One, no. 3. See Figure 56. Now bring your left foot closer to yo ur right
Continue turning and pulling forwards with one, at the same time straightening your legs and
your left hand, pulling in a natural circle and not so lifting you r partner onto yo ur shoulders. The
at a tangent towards your own body. This will position is similar to what is popularly called the
lead him to actuall y take the step forwards with 'fireman's lift' . Throw him over you r head so
his right foot in order to regain his balance. As that he falls on his back obliquely to your left
he is in the middle of the step and abou t to front corner. See Figure 61.
transfer h.is weight, push his right leg back with
the sale of your ou tstretched left fool. See SET FOUR
Figure 57. I. Corner ThrO)v (Sumi Gaeshi)
Do not sweep too high. Think of making This type of throw is performed from the
con tact a t the bottom of his shin with th e little defensive, rather crouching posture that some
toe edge of your left foot making contact with opponents adopt. It has tended to die out wi th
the top of his right foot. the more uprigilt posture that is in fashion today.
7. Slomach ThroHi (Tomoe Nage) However, with both of you bending forwards
With both hands lift and pull the partner so slightly and knees bent, let go with YOUt right
that he is tilted onto his toes. Slide your left foot hand and place it behind the opponent's back,
in between his legs. Raise your right leg and under his left armpit. R est your right hand on
place the sale of you r foot about two inches his right shoulder blade if possible. With yo ur
below his navel, falling backwards onto your left hand pull his right sleeve as tightly as you
back as you do so. Your falling weight brings can against your left side. From this position
him forwards over you. See Figure 58. place your left foot midway between his legs and
Straighten your right leg and pull wi th both to the rear of his heels. Fall on your back,
bands, and you will throw him directly over your raising your right leg and placing the instep
head onto his back. He will land with the right against the inside of the knee of his left leg. See
rolling breakfall. See Figure 59. Figure 62.
This type of throw, in which yo u fall down With your right leg, lift his left upwards and
yourself in order to throw you r opponent, is towards your head. With you r left hand pull
kn own as a 'sacrifice throw', Of tbem all, it is dow n and with your right hand lift, and he will
the only one allowed in beginner's contests, as be thrown Over you r head. All these movemen ts,
it is the least dangerous. Tile disadvantage of this though described separately, ha ve, of cou rse to
type of throw is, of course, that if it fails you be synchronised in practice. The opponent lands
have sacrificed you r own standing position, and with a right rolling breakfall. See Figure 63.
34
2. Val/ey Drop (Tani Otoshi)
At first , this looks very similar to the Side
Drop described in Set Three, no. 3. The differ-
ence is largely one of direction of throwing,
which depends on the direction in which the
opponent's balance is broken.
Advance your left foot deeply outside his right,
the knee of your left leg being about the position
of his right ankle. Put your right hand under
his left armpit. With your left hand pull his
righl sleeve to your left side. Fall on your left
side. See Figure 64.
With the lift of your right hand and the pull 65
of your left, combined wit h your falling weight, your right ha nd normally grasps it. Step to his
throw him over your outstretched left leg behind right side so that you a re facing him , your body
your left shoulder. See Figure 65. at [ight angles to bis_ your left foot behind him
3. Outer Winding Spring Throlv (Hane Maki and your right foot in front. Bend your knees.
Komi) With your right hand grasp either the back of
This is a combination of SOlO Makikomi (no. his jacket or his belt, thrusting your hand
7 of this set), and Hane Goshi (no. 5 of Set between his legs to do so. See Figure 68.
Three). Lift pull with your left and right hands Pu sh back against his chest with you r left
to bring him onto his toes. Step in with your forearm and pu ll forward s with your right hand,
left foot to a position midway between his, at the same lime straightening your knees and
turning yo ur right side to him . Bend your right thrusting your stom ach under you r partner. You
leg and put it across his legs. Now, holding him will be able to lift him clear of th e ground. See
tight against you wit h your left hand pull, take Figure 69.
your right arm over his right. See Figure 66. Now simply drop him onto his back, or throw
Continue turning, put your right hand on the him in the direction of his head so that he falls
ground and roll onto your right side . Your on to his back.
partner is whipped over your body and lands S. Changing Hip ThrolV (Vtsuri Goshi)
beside you. See Figure 67. Th is is a counter throw. You r partner attempts
4. Scooping ThrolV (Sukui Nage) any of the hip throws on you, such as 0 Goshi
Let go his sleeve with your left hand and (Set One, no. 6), or Vki Goshi (Set One, no. 4).
64
grasp his left lapel at about the position tbat Bend your knees and thrust your stomach
forwards to block his throw. With your left arm
grasp him along the lin e of his belt at the rear
and, with your right elbow on your right hip,
use your right hand to push him backwards.
Straighten yo ur knees and you will be able to
lift him clear of the g round and swi ng his legs
to his rear. See F igure 70.
At the moment when he has been swung back,
slip your left hip under him by stepping forwards
wi th your left foot. You will then be able to
perform the hip throw on him on the opposite
side to normal by simply turning and pulling
down with you r right hand. See Figure 71.
6. Major Wheel (0 G uruma)
Step back and around wit h your left foot to a
position just inside his left foot , on tbe same line
37
67
70 72 73 71
THE GOKYO
and faci ng the same way. With your left hand your .right wrist bent on his left shoulder. The
break the opponent's balance forwards. With effect of tbese moves is to pin him on both heels,
your right hand bring him close to you r right with his balance broken directly to his rear.
side and onto your right hip. Stretch out your Swing your right leg through the gap between
right leg across the front of his legs. See F igure your left and his right, and stretch it out so that
72. it is above his right knee and below his left. See
Continue turrung to your left and, by swinging Figure 78.
yo ur right leg back and up, lift him off the mat Turn left and use your outstretched right leg
and over your hip. See Figure 73. to sweep both of his away. See Figure 79.
This resembles the Leg Wheel (Ashi Guruma: Tbe throw is not unlike 0 Solo Gari (Set One,
Set Three, no. 4), but the partner is thrown over no. 5), except that as you are sweeping both his
yo ur hip rather than ju st you r leg, and his legs away it is rather more vio lent.
balance is broken more to his left front comer 2. Floating ThrolV (Uki Waza)
than directly forwards with the pull of your Pull (he partner forward s with both hands so
right hand. tbat his balance is broken directly forwards.
7. Outer Winding Throw (Soto Maki Ko.ru) Stretch out your left leg to you r left and fall on
Lift and pull on his right sleeve with your left yo ur left side, bringing yo ur left band to yo ur
hand. Take your left foot back and a round and left side as you do so and pushing with your righ t
place it just in front of his left foot. Let go with hand so as to throw the partner over your
your right hand and take your right arm over au tstretched left leg. See Figu res 80 and 81.
his right arm . Stretch out your right leg and Your partner should land behind you slightly
place the foot just outside his right foot to block and to your left side. He does a right forwards
bis advance. Now, with the combin ed pull of rolling break fa ll.
your left hand and the push of your right upper 3. Side Separation (Yoko Wakare)
arm, trap his right arm under your right armpit. Lift puU with both bands to break your
See Figure 74. partner's balance directly forwards. Turn your
Tum your body to your left, put you r right right side towa rds him and slide your left foot
hand on the ground . and fall on your right side. widely to his right, at the same time dropping
The opponent is wound over your body a nd falls onto yo ur left side immediately in front of him .
beside you. See Figure 75. See Figure 82.
8. Floating Drop (Uki Otoshi) Slide your right foot thro ugh also as you are
Step back diagonaUy with your right foot and falling, so that your two feet block his advance.
point the toes at an angle of 45 degrees towards As you fall. you pull down strongly with both
the partner. With your right hand, lift to bring hands and as his weight is tilted over his toes he
him onto his toes. With your left. lift and pull so somersaults fo rwards over your waist and lands
that he wants to step forwards with his right foot on his back at approximately right angles to your
to regain his balance. See Figure 76. body. See Figure 83.
At the point where he wants to step forwards, This particular throw, although banned to
but before he does so, pull down with your left lower grades, is used as a counter-throw to such
hand and li ft with your right simul taneously. The throws as 0 Goshi (Set One, no. 6), by stepping
effect is to turn him in a large circle towards bis quickly round in front of the opponent and
right front. See Figure 77. falling.
4. Side Wheel (Yoko Guruma)
SET FIVE Step in with your left foot to behind your
I. Major Outer Wheel (0 Soto Guruma) partner's right , turning your body to face bis
Step in with your left foot onto the same line side. Your fe et are evenl y spaced, one in front
as the partner's feet and just outside his right and one behind bim, and you a re facing his right
foot. With you r left hand push down towards side, at right angles to it. With both arms, clasp
his right heel. With your right hand, push up and bim around the waist, at the level of his belt.
over his shoulder and then down his back, resting See Figure 84.
40
"
J
74 76 77 75
/
This is the kind of posItIon from which you
would do the Changing Hip Throw (Set Four,
no. 5), or the Rear Throw (no. 6 of this set).
To counter any attempt at th ese, the partner will
lean forwards when you take up your position.
As he does so, slide your right foot deeply
between his and fall on your back, rolling onto
your left side. See Figure 85.
Your partner will land just behind your left
shoulder with a forwards rolling breakfall.
5. Real' Loin (Ushiro Goshi)
This is a counter-throw to an attempt at one
of the hip throws. Let the partner move in for
Uki Goshi (Set One, no. 4). As he comes in.
bend your knees to lower your hips and clasp
him arou.nd the waist at belt level with both
hands. Lean backwards and thrust your stomach
forwards so that it is below his hips, and you
can lift him on it. See Figure 86.
By straightening you r knees whilst holding 91
him tight and thrusting your stomach forwards, 6. Real' Throw (Ura Nage)
lift him clear of the mat . swingi ng his legs Step in to your partner's right side, your left
forwards so that he levels out. At the peak of foot behind him. your right foot in front of him ,
your lift, walk backwards from under him so your body at right angles to his and facing him.
that he falls onto his back. See Figure 87. Catch him arollnd the waist with your knees
It is permissible to use the left knee to assist bent, your left arm encircling the line of his
your lift. belt. ano your right hand in lJis stomach. See
Figure 88.
90 Bend backwards as you straighten your knees
so that you lift him clear of the mat. At this
moment throw 'yourself backward s onto your
back and hurl him over your left shoulder to
your rear. See Figure 89.
This is rather a dangerous technique. Practise
it with care, and do not land the partner on
his head but let him go with your left arm so
that he can do a rolling breakfall.
7. Corner Drop (Sumi Otoshi)
Step in wi th your left foot to just outside his
right, bending your knees as you do so. With
your left hand push towards his right heel. With
your right hand, push up over his left shoulder
and down towards his right heel. The elfect of
this is to pin him on his right hee\. See Figure
90.
Now push with your right hand and pull with
your left, and you will turn him onto his back,
probably getting both his feet olf the ground but
certainly his left. This is not an easy throw as it
is executed largely with the hands alone. It is
45
THE GOKYO
~7
CHAPTER FOUR
Groundwork: Holdings
It is gene rally considered in judo circles that out in thirty seconds, he never will. At any time,
an assailant who was thrown heavi ly with one either in a balding or under an arm lock or
of the throws already descri bed , wo uld be stranglehold , the opponent may submit. To do so
unable to continue to fight if he landed on a he lightly taps either th e opponent or tbe mat
hard surface without knowing how to fall. Th is wit h a hand or foot. He must be instantly
is probably true, as he would be most likely to released on giving this signal of submission.
hit his head if he did n ot know the breakfalls Alternatively, he might say that he gives in.
described in tb e previous chapter. We shall stud y eleven holdings.
In case further measures shou ld be necessary, 1. Scarf Hold (Kesa Gatame)
however, judo students learn va rious ground- Your partner is lying flat on his back. Sit a t
work movements. In this chapter, and the next his right side. Witb your left hand, hold his
two: we shan examine the commoner ones. jacket at his right sboulder and trap his right
What are called 'holdings', or osae komi waza, arm under your left armpit. Your stomach should
are learnt first. Th ese are methods of controlling be close up under his right armpit. Bend your
the opponent without actually hurting him, so ri ght knee and take it fo rwa rds under his right
that he cannot get away. They wou ld, for arm. Take your left leg out at right angles to his
example, enable one to hold a ru ffian until the body, bendin g it at the knee if desired . Put your
police arri ved. right a rm under his head from his left side, with
They are learnt first because until yo u can the palm of th e hand on the gro un d. From this
control the move ments of your opponent the position, put you r right hip bone in his solar
arm locks and strangleholds of the next two plexus and slide your body to his right. Relax
chapters are useless. He wo uld be able to move all yo ur weight on him, keeping you r head
out of them. forwards and to the left of his head (as viewed
In judo can lest, groundwork can be done if by you), i.e., over his right shoulder. See Figure
one man is thrown, but nol suffi cien tl y cleanly 94.
to gain a point. Alternatively, if lhe contestants Hold tight and if he moves a round in his
do not wish to do grou ndwo rk, they can stand efforts to dislodge you move wi tb him, maintain-
up agai n and continue the fight on their feet. ing the same relative positions of your bodies
Th e importan t thing to remember about and legs. Do not let him trap your left leg by
holdings is to re lax, sagging as mucb of your bringing his right foot over it. He will probably
weight as possible onto the opponent, like a dead try to sit up. Counter this by moving your left
weight. If you st iffen up you will find tha t yo u foot back. H e will vary this with trying to buck
are taking some of th e weight off him and the you over his head , placing his feet on the floor
hold is then less effecti ve. and lifting his hips to do so. Counter this by
To gai n a point in a judo contest you bave to crossing your left leg over your right and pushing
hold the opponent for thi rty seconds after the yourself back down. He may try to grasp you
referee has indicated that he recogn ises the hold . around the waist and roU yo u over his body to
It is considered that if the opponent cannot get his left. Stretch out your r ight arm and put the
48
hand on the floor to push yourself back.
Relax entirely. If you stiffen up you are like
a board. He has only to lift part of your weight,
since the other is taken on that part of you that
remains on the floor. If you relax you are like a
sack of sand. As he lifts one part of you, the
weight runs to another and his efforts are
frustrated.
He is not allowed to hit or press nerve centres,
nor to push the face, but he can put his hand
under your chin to pusb your head back. He
would try this with his free hand, of course,
so tuck your chin in, keeping your head down
and close to the right side of his head.
If he succeeds in freeing his right arm from
your left armpit, the hold is considered broken
and the count would stop in a judo contest. The
referee would then order you both to resume
yo ur feet, unless you moved into another hold
or continued to struggle for an armlock or
stranglehold, or he was attempting counterbolds
against you.
,-- -
2. Shoulder Hold (Kata Gatame)
This is done from the same position as the
last hold but the opponent does free his right
arm by pulling it out. As he does so, push on his
right elbow so as to take it across his throat.
With your left hand, catch your right, turning
the arm so that the bone on the thumb edge of
the arm is against the back of his neck. Pull
yo ur right arm up with your left hand and put
your head on the ground , tight against his right
upper arm so as to press it to the side of his
head. Hold tight and move around with him as
before. See Figure 95.
This hold sometimes partly strangles the
opponent, in which case he will give in by
tapping. Be prepared to let him go immediately
he does so.
You may vary the position of your feet in this
hold by coming up onto your right knee, keeping
96 97
it close to his side, and stretching your le ft leg
back with the toes in the mat. Then, use this
ou tstretched left leg to push your own head
into the mat above his right shoulder.
The opponent may try to turn onto his face,
or to do a back somersault, or to loosen your
grip by pushing his right arm against tbe side of
your head with his left. Be prepared for any of
these manoeuvres. Hold tight and try to main-
GROUNDWORK: HOLDINGS
tain the same relative positions. your stomach is on his face and your chin in
3. Side Four Quarters (Yoko Shiho Gatame) his stomach, or as near these positions as is
Kneel at the opponent 's right side, facing him. possible, bearing in mind your relative heights.
With your left hand catch his left shoulder, Spread you r legs wide apart and dig your toes
holding the jacket, of course, and passing your into the mat. Lower your stomach and relax aU
left arm under his head to do so. Pull the your weigbt onto him. This bold partially
shoulder to the ground by means of the jacke!. smotbers an opponent so, for practice, allow 'him
Pass your right arm between his legs and catch to turn his head to one side so that he may
either his belt or the tail of his jacket if you continue to breathe. See Figure 97.
cannot reach his belt. Lower your weight for- Maintain tbe same relati ve position, moving
wards so that you are lying across his body with with him if he moves. There must be a straight
your head on the left-hand side. Relax all your line through his body and your's. If he can dis-
weight on his body. Stretch your legs out behind turb this straight line he may be able to sit up,
you, spread them wide apart and dig yo ur toes or do a backwards somersault. The usual way
into the mat. Lower your stomach. Take as little to try and escape, however, is to try and turn
weight as possible on your own toes or elbows. you over, by bridging, grasping your belt with
Put as much as you can on the partner. See both hands a nd then dropping one leg through
Figure 96. the gap made by the bridge. U it succeeds, he
If he moves around, move around with hint, has exactly the same hold on you. The answer
maintaining the same relati ve positions. He may is to pull down strongly on lhe side he is trying
try to roll to his left. If he does, put your head to raise with the hand and to extend the opposite
on the ground to push yourself back. He may foot still wider to prevent the turn . It is a
put his feet on tbe ground and bridge witb the question of leverage. If he is trying to lift his
object of turning quickly towards you. Sag your right hip, then the force he can exert is equal to
weight on to him and with both hands pull in 'effort times effort arm'. according to the laws
the direction of your own knees. H e may try of mechanics. The 'effort arm' in this case is
with his left forearm to push the side of your balf the distance between his hips. Your resist-
neck and take your head far enough down his ing force js equal to 'resistance times resistance
body to bring his left leg over your head. This arm', The 'resistance arm' will be the distance
is a bad position for you and may lead to an between your outstretched left foot and the
armlock on you r left arm. To avoid it, as soon ex tension of the line drawn centrally up his
as you see his intention keep your head well up body. Thus the wider your foot is placed, the
towards his left shoulder so tbat he cannot get greater the resistance arm. Suppose half the
his forearm against yo ur neck. If he does, distance between his hips to be 6in, and the
instantly put your head on the ground close to distance your foot is out from tbe central line
his left thigh so that he cannot get his leg over to be 24in. Let x equal the force he is using to
your head. 1f he has gO! it over, let go with your tr y to raise his hip, and y the power you are
left hand and bring the arm into your body out using to stop him. Then 6x equals 24y.
of danger. But remember that, in doing tbis, Or x = 24
you will have lost the hold and must move into Y 6
another. Moving into the next hold (no. 4) is a The effort he will have to exert is therefore four
possible move from this situat ion. times the resistance you can call upon, and your
4. Upper Four Quarters (Kami Shiho Gatame) resistance potential is your total weight, if you
The opponent· is lying along a line. Kneel relax. Plainly, then, you must have him at a
behind his head, facing him and on the same d isadvantage.
line. Pass both hands under his shoulders and The scientific explanation of one's power in
catcb his belt at either side of his body. Pull it relation to this holding bas been give n as an
to the ground so that the piece of his belt on example but anyone interested in this aspect of
top of h im and between your hands is holding judo can work out for bimself tbe mechanical
him down . Lower your body forwards so tbat advantage in most of the movements, both
50
throwing and on the ground. It is interesting to
do so, since it explains why often a frail girl or
a young boy can overcome a mature man of less
skill or knowledge.
5. Broken Upper Four Quarters (Kuzure Kami
Shiho Gatame)
This is a hold from behind, as in the last case.
Kneel behind the opponent's head. Keep the
same straight line through your bodies. With
your left arm passing under his left shoulder,
seize his belt at his left side and pull down, as in
the last hold. But pass your right arm over his
and take the hand up to seize his collar at the
back of his neck. Trap his right arm to your
right side with your elbow. Now spread your
legs as before, lower your body, and put your
chin in his stomach. Your right leg in this hold
is, however, rather over to your right and your
stomach tends to be on his right shoulder, hold-
ing that down, rather than on his face . Relax
completely. See Figure 98.
In a1l these holds it belps to watch tbe
opponent's breathing and to flop all your weight
on him as he breathes out, making it that much
more difficult for him to breathe in again. The
methods by which he will attempt to get out of
tbis hold are exactly the same as for the last
hold. Simply relax, maintain the same relative
positions, move with him, spread your legs as
needed to stop him turning you and keep his
right arm trapped to your right side.
6. Rear Scarf Hold (Gyaku Kesa Gatame)
Take up tbe position described in the last
hold, so that you begin by actually doing tbe
last hold. Now come up on your knees and take
your left leg through and under your right, and
apply your left hip to the side of his head. Your
left leg is now bent and stretches out at roughly
right angles to his body; your right leg stretches
out behind you. Relax your weight on his head
and hold tight with your hands. See Figure 99.
This is an extremely difficult hold to get out 100 IOJ
of and the weight on the opponent's head often ....~~_"""I"'T~,=,...-J..--~-.." ...--.,....".-
produces a submission. Do not let him get his
head or his arm out, and maintain the same
relative positions by moving with him and chang-
ing direction with him.
7. Chest Locking (Mune Gatame)
Kneel facing him at his right side. Lean across
his body. With your right hand catch his jacket
GROUNDWORK: HOLDINGS
at about shoulder level on his left sleeve. Put left. Take your right bent leg farther forwards
your right elbow against his left hip. With your beyond his right sboulder. Now you must put
left ar m passing over his body, not under his your right hip bone on him and rest your weight
head, rest yo ur elbow on the ground near his on it, choosing th e exact position where he can
left shoulder and catch his belt with the left neither sit up nor buck yo u over his head . With
hand. Keep your right knee against his rigbt hip both hands and arms, keep his shoulders· off the
and stretch out your left leg at right angles to ground. See Figure 102.
his body, digging your toes in to the mat. Keep His only way out is either to buck you over
his hips pressed tight between your right knee his head, holding your belt with both hands to
and your right elbow, so that he cannot turn assist this move, or to sit up and take you back-
either way. Relax your weight on him . See wards. To buck you, he has first got to get his
Figure 100. shoulders on the ground. Stop him. To sit up,
Th is is a very strong hold. His only real hope he has got. to shift your weight down his body.
is to turn over, so he will try to widen the gap Keep it at the exact spot.
between your right knee and your right elbow 10. Head Locking (Kashira Gatame)
to give him the necessary space. Do not let him . This is much the same as the Scarf Hold (no.
He may try to catch your left foot in his right I in th is chapter) but with one difference. Your
hand so as to lift you , combining this with a right hand, instead of resting on the ground ,
turn. He may try to sit up, alternating this with catches yo ur own right trouser leg at the inside
tryi ng to buck yo u up his body. Just relax, hold of the knee. It makes the hold that much
tight and move around with him to maintain stronger. See Figure 103.
the same relati ve positions. The methods of attempted escape .and their
8. Lengthways Four Quarters (Tate Shiho Ga- counters are all as described in no. I of this
tame) chapter.
The partner is lying flat on his back with his II. Broken Side Four Quarters (Kuzure Yoka
feet on the ground and knees raised. Kneel Shiho Gatame)
astride him and tuck your feet around his legs T his, again, is almost exactly the same as tbe
from the outside, so that your feet catch tbe side four quarters (no. 3 in this chapter), but
insides of his calves. Get his right ar m above his you r left hand, instead of passing behind his
head and fold yo ur own arms around his arm head. passes over -his throat and holds the
and head, your fo rearms being under his head. shou lder to the ground as before. See Figure 104.
It is the same action as 'folding one's arms' in A permissible variation with the right hand is
schoai. Your folded arms trap his rig ht arm to not to put it between his legs, but to pass it
the right side of his head. Take you r oWn head under his body and catch his left sleeve at the
forwards to the grou nd above his right sboulder edge, so holding his left arm to his side. Relax
and relax. You can spread his legs slightly, but on him as before. The methods of attempted
this may hurt him and, if it does, it wo uld be escape are all th e same.
counted as a leg lock and banned in judo con- With this par.ticular hold, of course, you can
tests. So be careful about th is. See Figure IO!. mo ve on to the strangulation of the partner
He will try to free a leg, Simply catch it again. simply by bringing yo ur left elbow to the ground
He will try to turn you over. Simply spread the so that the bony outer edge of yo ur left arm
leg in the direction he is trying to take yo u. Sag presses against the front of his throat. Bear all
ali your weight on to him. you r weight on it and he will give in.
9. Broken Scarf Hold (Kuzure Kesa Gatame) The secrets of success in all these holdings are
Take up first the position of the Scarf Hold to keep your body as low as possible, to relax,
(no. I in this chapter). Now sit up and trap his and to put as much weight as possible on the
left arm under your right, in the same way as opponent, supporting as little as possible on your
you a re trapping his right arm under your left. own arms or legs. Even when you rail to hold
Hold with both hands at the respective shoulders, him for the full thirty seconds in a judo contest,
your left holding his right and your right his the struggle to escape often exhausts him so
52
much that he is unequal to continuing the
struggle when you resume a standing position.
From these holding positions you can move to
armlocks and strangles as described in the chap-
ters which follow. You can also change from
one holding position to another. If you do so
without losing control of your opponent, the
count would still go on in judo contest.
There is room for much experimentation and
improvising in groundwork. The only way to
become a master at it is to practise with a keen
partner and to work out moves for yourself. It is
a cross between wrestling and chess, where you
are trying to see several moves ahead and to
102 103
trap your opponent into making a false move.
Almost every muscle of the body is brought into
play in groundwork, and the exercise is com-
parable to Yoga in the benefits it confers.
104
CHAPTER FIVE
Groundwork: Arm/ocks
There are only two basic armlocks : the elbow against the inside of your left thigh and
straight armlock, in which pressure is put on tbe press back on the wrist until he submits. If the
elbow joint and the arm bent back against it, elbow is directly underneath, hold his wrist to
causing pain or dislocation: and the bent arm- your chest and raise your stomach so that it is
lock, in which an attempt is made to turn tbe pressing upon his elbow joint. Either of these
arm ' out of the shoulder socket. All known moves will produce instant submission.
arm locks are a variation on either of these, 2. Entangled A nnlock (Ude Garami)
thougb there are dozens of tbem , all under Lie across your partner from bis right side to
different names. We shall be looking at five ill his left , so that your weight is holding his chest
this cbapter, but bear in mind that whenever an down. Bend his left arm upwards at the elbow
arm is straight, if you can put part of your body joint so that the upper arm is at right angles
or limb behind the elbow and bend the arm back to his body and the forearm is bent back towards
against it, you will be doing a straight armloek his head at an angle of approximately 45 degrees
in essence. to the upper arm. Put your left hand on his
In practising these arm locks it is vital lhat wrist, fingers uppermost and keep your forearm
you should realise how dangerous they can be. level and low down. Pass your right arm under
You can get into the position of applying them the upper part of his left and rest the hand on
as quickly as you like, but you must not apply ' your own left wrist , fingers uppermost. Keep
them with a jerk, or violently. Pressure must be your elbow down and your arm level with the
put on carefully, and you must be prepared to ground. See Figure 106.
stop the instant your opponent signals his sur- Now simply turn both your wrists gently down
render. As previously mentioned , he does this towards the ground. The effect is to twist his
either by tapping or by saying tbat he gives in. arm at the shoulder socket and he will submit.
1. Cross Armlock (Juji Gatame) 3. Arm Crush (Ude Gatame)
Sit at the right side of your partner about the This is one of the variations of the straigbt
level of his shoulder. Put your left leg across his arm lock. Kneel at the opponent's right side with
throat with the foot on the ground to stop him your left knee on the ground and your right
sitt ing up. Put your right toes under his right knee raised, toes under him . The lock is applied
side, knee bent. Hold his right a rm at the wrist when, from this position, he raises his left arm
with both your hands, keeping it between your to grasp your lapel. Clasp both your hands over
legs. Lie back and put your head on the ground. his elbow joint, turnjng it away from your own
Keep your knees together. Now note on which body. Turn his body onto his right side and
side of his arm is his lillie finger. You will find kneel on it with your right knee to hold him
that his elbow is on the same side. If it is to your there. Press down on his wrist and hand with
right, take the elbow joint back against your your shoulder, and pull the elbow in towards
right inside thigh and gently press back on the your chest. See Figure 107.
wrist until he gives in. See Figure 105. The moral of this armlock is never to reacb
H his little finger is to your left, take the up a straight arm to catch hold of an opponent
54
109
if he is in a position to control your body.
4. Knee Armlock (Biza Gatame)
This again is a straight armlock. Your partner
is between your legs and incautiously reaches out
a hand to grasp your · collar as a preliminary,
perhaps, to strangling you. Suppose it is his
right arm. Catch his wrist with both your hands
and pull to keep the arm straight. If he is on his
knees, push his left knee away with your right
foot and roll to your right, so that you are on
yg.ur right side. Raise your left leg and bend it
at the knee. Place the knee on the back of his
elbow. Turn his wrist so that his little finger edge
is uppermost, so making sure that his elbow joint
is in contact with your knee. Now lift gently
' with your hands. See Figure 108.
5. Leg Armlock (Ashi Gatame)
Proceed exactly as for the previous armlock,
but instead of putting your knee against the back
of his elbow take your foot over his arm and
put it under his chin. Now, if you straighten
your leg and pull with your hands to keep his
arm straight, you will have the leg arm lock. See
Figure 109.
Both these arm locks illustrate the principle
that to get between your opponent's legs is to
put yourself in a weak position. On no account
reach out your arms to strangle him from this
108 position or you will be open to one of these
107
~""'-"'==:i;Ii~~ ,-'. . . .,.,.". . . . .,.,. armlocks. Get out from between his legs before
you do anything else.
If, of course, your partner reaches out both
hands and not just one, which is what would
normally happen , you can still apply these two
locks by concentrating on one arm only. Which-
ever arm you choose to apply the lock on, roll
the opposite way.
55
CHAPTER SIX
Groundwork: Strangleholds
Some judo strangleholds have as their object I. Normal Cross (Nami Juji Jime)
constriction of the windpipe to restrict breath- Kneel astride the partner, controlling him with
ing, while the purpose of others is to constrict your knees pressed to his sides. Cross your arms
the carotid arteries and by so restricting the normally, that is with the palms down. Put the
How of blood to the brain to cause loss of thumbs inside his collar: the right thumb inside
consciousness. We shaU make it clear which are his right collar, the left thumb inside his left
which in the course of the descriptions. As with collar. Put them as far back as possible. Pull
the arm locks, remember that these are extremely with both hands towa rds your own body, parting
dangerous and must be practised with great care, the elbows. See F igure 110.
and never applied with a jerk. If they are applied This is one of the strangleholds that restricts
seriously, loss of consciousness can ensue in from the flow of blood to the brain. The bony edges
anyth ing from two to eight seconds, depending of your arms dig into the sides of his neck. Do
upon tbe opponent's experience of resisting not turn you r wrists to the position where the
them. So be prepared to let him go the instant fleshy part behind or in front of your arms is
he gives in, which he will have to sign ify by agai nst his throat, as this will be less effective.
tapping since one cannot normally speak in these If yo u do not get almost instantaneous subm.is-
locks. If he loses consciousness, let him go at sian from this necklock , you are probably not
once. If you continue to hold after he has lost applying it correctly. Practise it more.
consciousness, he will be dead in about five 2. Reverse Cross (Gyaku Juji Jime)
seconds. This is the same as for the previous strangle-
As with arm locks, successful application of hold except that, when you cross your arms, you
strangleholds depends upon your ability to con- do so wi th the palms upwards and so insert your
trol the movement of your opponent's body, fingers inside his collar, thumbs outside. See
otherwise he may be able to twist out of tbem. Figure 111.
So, for those where you are on top, remember Again , it restricts the flow of blood to the
to keep your full weight on him. brain.
We are going to look at nine movements. 3. Half Cross (Kata Juji Jime)
Most of them could be applied even if you were This is a hold that constricts the windpipe.
in the underneath position on the ground, so it Kneel astride your partner, keeping your knees
is not necessarily the worst position to be in. at his side to control him and sitting on his
All of them cou ld be applied against a standing stomach. Put your right thumb inside his right
opponent but their use in this way, though not collar just hehind his right ear. Turn your right
forbidden , is not encouraged in judo contests. arm so that the bony edge on the little finger
Submission in a judo contest would lose a point, side rests across the front of his throat, and
of course, and the other man would win, but do lower your elbow so that the arm is parallel to
not hesitate to submit if you are caught. It is the ground. With your left hand, catch his left
better to lose than be killed. lapel just below the collar bone, fingers inside
thumb outside. See Figure 112.
56
f
57
114 116 117 115
GROUNDWORK: STRANGLEHOLDS
59
CHAPTER SEVEN
Nage No Kala
Nage No Kata is a formal demonstration of accurate, from the first bow to the distinguished
judo throws. Before proceeding to a detailed guests to the last bow. Every single movement,
study of it , a few words should be said about every gesture, has its meaning and purpose.
katas in general. There must be no unnecessary movements nor
KaLas are an attempt to preserve in their anything that is not part of the kata. Between
purest forms the knowledge of techniques. One movements partners must remain absolutely still.
man acts as the performer of the techniques. He Study of the throws and their precise moment
is called Tori. The other has th e techniques of execution will be of special interest to those
applied to him. H e is called Uke. Uke gives Tori attracted by the scientific aspects of judo, since
the perfect opportunity to apply the technique, they can work out bow maximum effect is
and Tori's a pplication must be absolutely accurate obtained with minimum effort. Similarly, those
as regards timing, form, and complete control to whom judo has an aesthetic appeal will find
of his partner. They work together in harmony, in the controlled perfection of movements in
striving between them to give a perfect demon- kata an art form akin to ballet.
stration of movements done under the most Katas must be performed honestly. The throws
favourable circumstances. Thus, by this ritual are generally made in response to an attacking
performance, they preserve the knowledge of movement by the partner, and that attack must
the purest form of .the technique and the precise be genuine. Even in Kime No Kata, where some
moment a t wh ich to apply it. of the attacks are made with dagger or sword,
Kata is both th e art and the science of judo. it would be considered a disgrace to give a dis-
It has also been called the gramma r of judo, and honest or faked performance of the kata.
a study of it can do much to improve one's con- Although katas were devised as a ritual to
test ability, as it gives practice in perfect timing preserve the ancient forms for all time, over the
and co':ordination of movements. To encourage years variations have crept in. One master wiIJ
such a study, kata competilions are sometimes teach o ne form , another a different one, but
held in conjunction with judo championships. always the same basic sequence will be followed.
One or more katas are usually performed on To try and rationalise this situation , the Japanese
ceremonial occasions. such as the fe-opening of masters held a conference in the 1960s to try and
th e dojo after holidays. or at gradings, public agree on a standard form of the various katas.
displays. Or in honour of a distingu ished visilor Not all the masters accept the version produced
to the dojo. They are usually performed by the by that conference, so all that any book can do
highest grades, as long practice wilh the partner is to set out the basic form . If your particular
is essential before they can be attempted in teacher prefers a slightly different variation,
public. Nage No Kata and Katame No Kala listen to him. He may well be just as right as
(dealt with in the next chapter) are part of the another teacher who has studied under a different
required test for the black belt. master.
The sequence of mo vements that comprise the It should be emphasised, however, that these
kata is a complete entity. Everything must be variations are minor. The basic sequence and the
60
basic approach are not in dispute. Such varia-
tions, indeed, are almost inevitable since any art
is subjective and one could well liken them to
the different readings of an orchestral score by
various conductors. The student can only listen
to all the masters he meets and even tually pro-
duce his own rendering. .
Nage No Kata, which was created by Pro-
fessor Jigoro Kana, who based it on his study of
the ancient techniques, consists of five sets of
throws, three in each set. The first set consists
of hand throws (Te Waza), the second of hip
throws (Koshi Waza), the third of foot tbrows
(Ashi Waza), the fourth of sacrifice throws in
which the thrower falls on his back (Masutemi 119 120
Waza), while the last set comprises sacrifice
throws in which the thrower falls on his side
(Yoko Sutemi Waza).
The honoured guests at the demonstration
will be seated togetber at one side of the mat,
their seat being known as the 'joseki'. As the
performance is in tbeir honour, it must be
directed towards them and even in practice the
performers will bow to the joseki and not turn
their backs to it unnecessarily.
Tori (the thrower) will stand to tbe left of
the joseld, as viewed by anyone seated in the
high seat, and Uke (the one who is thrown) will
stand to the right. They will stand for a rew
seconds absolutely upright and still, approxi-
mately twelve feet apart. Then, simultaneously,
they will turn approximately thirty degrees so
that they each face the joseki and bow to it.
Heels must be together, hands at sides, and
costumes impeccably arranged. See Figure 119.
They will then turn back to face each other
121
and bow. Both bows are normally made from
the standing position. See Figure 120.
Each then steps forwards one pace, left foot
first, then right, bringing their feet to the normal
distance apart, since they have been standing
heels together for the bow. See Figure 121.
From this point on, visualise a line drawn
between them. This is the axis of tbe kata. An
throws are done down this axis, first on the
normal side, then with the partners at opposite
ends on the opposite side, so that there are two
repetitions of each throw. Many throws involve
three steps being taken, each unbalancing Uke
a little more, with the throw on the third step.
NAGE NOKATA
All this will become clear as we proceed to the lapel with your left hand. When you step back
details of throws. You are Tori, the thrower; to perform the throw your first step is with your
your partner is Uke, the man who is thrown. right foot, he follow ing with his left. Simply
reverse all tbe directions for the normal per-
SET ONE (HAND THROWS) formance of tbe throw and you will have the
1. Uk; Otosh; way to do it on his left side.
Walk normally towards your partner, straight It is important that wbenever you or your
up tbe axis of the kata, until you are the right partner turn round at the end of the kata axis,
distance from him for both of you to reach out or indeed anywhere else, you should turn towards
and take the normal holds. You must be upright, the joseki and not away from it.
looking him straight in the face, and making no 2. Seo; Nage
unnecessary movements, such as swinging the The preceding movements have left you at
arms. He must be perfectly still and relaxed. yo ur right end of the kata axis, since the second
When you are at the correct distance, pause a performance of Uki Otoshi took your partner
moment. to his own end.
Then , as you simultaneously take the normal You now advance with normal steps to a
holds on each other, step back with your left distance of six feet from your partner. You are
foot and bring your right nearly up to it, in the going to do the shoulder throw in response to
Tsugi Ashi movement described in Chapter 1. an attack by him.
Uke follows your movements by advancing with He steps forwards with his left foot and takes
his right foot and brillging his left nearly up to his right arm back behind him, ready to swing
it, also with the Tsugi Ashi movement, so that up and over and to strike you on top of the skull
as you break his balance forwards with your witb the base of his c1encbed fist. This blow is
steps backwards, he recovers with his steps for- one of the 'atemi', or blows at vital spots prac-
wards. See Figure 122. tised under the old ju-jitsu systems. It is the
Repeat this move exactly, but this time step- bottom strike first (tettsui) of karate.
ping a little farther back and breaking your As he is advancing his left foot you must bear
partner's balance a little more markedly. He in mind that, when he strikes, be will try to bring
recovers by following your foot moves, as before. his right foot forwards and past his left. His
Now repeat the move a tbird time, but on this moment of greatest weakness from tbe judo
occasion step back a pace and a half with your point of view will be when his feet are in line,
left foot and drop onto your left knee. Your as at tbat moment his balance can be broken
partner, being unable to recover from this un- directly forwards. So, timing yo ur movement to
balancing, will somersault forwards if you pull correspond exactly with his, when you see bis
with both hands down towards your own left left foot advancing, advance your right diagonally
belt. Note that when you kneel on your left forwards and place it just inside the position
knee, your toes are in the mat. This is always where his right is going to come. At the same
so when you are throwing and tbe instep is off time raise both your arms so that the blow, when
the mat, unlike when you are doing the kneeling it comes, will pass between them. See Figure 124.
salutation. See Figure 123 for the tbrow. Your partner now strikes the blow, bringing
This form of Uki Ostoshi varies from that his right foot forwards as he does so, but tbe
described in Set Four, no. 8 of Tbe Gokyo, in blow passes over your right shoulder as ybu turn
that the thrower is kneeling to perform it, but and take your left foot back and around to a
in essence it is the same throw. position just inside his left. You then seize his
Your partner has landed behind you. He will sleeve and jacket at the shoulder with left and
rise and go to your end of the kata. Get up and right hands respectively, and you are in a posi-
follow him until you reach the distance where tion to do the shoulder tbrow, Seoi Nage,
you can take the usual holds. Tbis time, take described in Set One, no. 8, of The Gokyo. See
exactly the opposite holds; that is, catch hold of Figure 125.
his left sleeve with your right hand and his right You perform the throw, taking care to sup-
62
/
NAGE NOKATA
64
1 12 8 ~129::--"";";;""--""': 127
126
''''-
130 132 133 131
NAGENOKATA
right hand hold by letting go of his left lapel SET THREE (FOOT THROWS)
and passing your right arm under his left armpit 1. Okuri Ashi Barai
and behind his back, resting the flat of the hand You both advance to the centre of the kata
on hls right shoulder blade. See Figure 13J. and as you take the normal holds you both turn
Your third step is as follows. Take your left to a position on either side of the axis. YOll tUfn
foot back very quickly and around bebind you in by stepping forwards with your left foot and
a small circle, and place it just inside his left bringing your right into line. Your partner, who
foot. Turn your back on him at tbe same time. has done the same, now has bis back to the
Now, as be advances his right foot, your right joseki, while you are facing it. As you turn, you
sweeps it away and you throw him with tbe take the normal holds on each other. See Figure
sweeping hip throw (Harai Goshi) as described 136.
in Set Two, no. 7, of Tbe Gokyo. See Figure Now, moving in unison, you both take three
132. rapid steps, you to your right, he to his left. He
You will see that the third step with your begins with his left foot and you move your
left foot back and around bas to be made very Tight in time with it. He brings his right foot up
quickly indeed, since you have to do it and sweep to it and, as he does so, you slightly unbalance
with your righ t in tbe time that your partner is bim to his right side by lifting with your right
advancing his right. You must catcb him in his hand on his lapel and pulling down slightly witb
advance. your left on his sleeve. On the first two of these
Again the throw is repeated on the other side, steps, you simply move your left foot up in time
taking you to your own ends of the kata. with his right, but on the third step you use this
left to sweep his right into his left, strengthening
3. Tsurikomi Goshi
the lift with your right hand and the pull-down
Thls is another of tbe three-step moves. with your right so that you throw him with
Advance and take the normal balds. Take the Okuri Ashi Barai (the double ankle sweep)
first step as in Uki Otoshi. On the second step, described in Set Two, no. 5, of The Gokyo. See
you change your Tight hand hold by taking it Figure 137.
further up his left lapel and onto bis left collar. You are really floating him onto his toes in the
See Figure 133. first two steps, and sweeping on the third. When
On the third step, you take your left foot back he falls, he gets up in exactly that spot. You
and round in a small circle, turning your back take the opposite holds and tbis time he moves
on your partner and bringing your right foot to to his right and you to your left, so that you
just inside his right, so' that you are in a position repeat the throw on the other side.
to perform a Goshi on him (Set One, no. 6, of 2. Sasae Tsurikomi Ashi
The Gokyo). See Figure 134. This again is one of the three-step throws, like
He must be clearly seen to resist this attempt Uki Otoshi.
by straightening up and thrusting his stomach Come in to normal holds distance. Catch and
forwards. To counter this, you bend your knees move exactly as for the first throw in the first
much more so that your hips are in contact with set. Unbalance you r partner as you move with a
his front thigbs and you are able to perform the slight lift-pull action of your left hand. See
resisting hip throw (Tsurikomi Goshi) as des- Figure 138.
cribed in Set Two, no. 4, of The Gokyo. See Repeat this for th e second step. On your
Figure 135. second step back with your right foot , however,
As usual, the throw is repeated on the opposite you prolong it by taking it back beyond your
side from the other end of the kata axis, bring- left and out to the side, to point diagonally at an
ing you back to your own ends. angle of 45 degrees towards your partner, so
This marks the end of th~ second set, so again that when be advances his right for the third
the re is a pause during which you simultaneously time you will be in a position to put your left
turn your backs to each other, adjust your sale in th e way and throw him with the propping
jackets, and then turn to face each other again. drawing ankle throw (Sasae Tsurikomi Ashi), as
67
138 140 141 139
NAGE NO KATA
On your fourth step forwards, which will be legs wide apart, knees bent. Your left hand and
with your left, yo u put it uoeply in between his his left take normal holds on the sleeves. But
legs, fallon your back , and bring your right foot each of you thrusts his right under the other's
up into his stomach for the stomach throw left armpit, to hold around the back.
(Tomoe Nage), as described in Set Three, no. 7, Your first step is to retreat with your left foot.
of The Gokyo. See Figure 142. Your partner follows with his right. See Figure
It will be noted that he has retreated first on 146.
his left, then his right, so that his fourth step You then take your right foot back, and he
back would be with his right. For his fifth, he follows with h is left.
immediately brings his right forwards again to For your third step, you take you r left foot
your left side, so that he can do the right rolling in to a point midway between his legs as he
breakfall over you. advances his right foot. You fall on your back
As you go down to perform the stomach and put your right instep against the inside of
throw it is considered better to change your his left knee, so that you are in a position to
left-hand hold on his sleeve to one on his right throw him with the corner throw (Sum i Gaeshi),
lapel that corresponds with your right hand hold as described in Set Four, no. I , of The Gokyo.
on his left lapel. See Figure 147.
When he is thrown, he does not remain on He lands with a right forwards rolling break-
the ground but uses the impetus of his roll to fall and remains lying. You then get up together,
come straight back up onto his feet. See Figure go to the other end of the kata axis, repeat on
143. the other side, and so get back to your normal
You get up facing him. He turns round. You ends.
come to the centre of the kata axis again and This is the end of the fourth set, so again you
repeat on the other side. go to your respective ends, turn your backs to
2. Ura Nage eacb other, adjust your jackets, pause, and turn
This is a th.row for countering an attempt by to face each other.
your partner to strike you on top of the head
with the bottom of his fist , as in Seoi Nage. SET FIVE (SACRIFICE THROWS FA LLING ON YOUR
You come to a distance of six feet from bim, SIDE)
he advances his left foot and swings back his 1. Yoko Oake
right arm for the strike. You move your head This is one of the three-step throws. Come in
to your right so that the blow passes over your to normal distance, take the normal holds, and
left shoulder, step in with your left foot beh ind move backwards with your left, your partner
him , catch him around the back at belt level following with bis right. On the first steps you
with your left arm and put your right hand in turn him slightly to his left by pushing his right
his stomacb, your right elbow resting on your sleeve across his body. See Figure 148.
right hip. See Figure 144. On your second step back with your left foot
You are now in a position to do Ura Nage you turn him a little more. See Figure 149.
(tbe rear throw), as described in Set Five, no. 6, On your third step, you do not actually take
of The Gokyo. Lift him clear of tbe ground, fall the step but apply your left foot to his outer
on your back and throw him over your left right ankle and fall , pulling down with your left
shoulder. He does the right forwards rolling hand and lurning him with your right onto his
breakfall and lies where he has fallen . See back in the side body drop (Yoko Gake) as
Figure 145. described in Set Five, no. 8, of The Gokyo. See
Repeat from the opposite ends of the kata Figure 150.
axis on the other side, to bring you back to your Repeat on the opposite side, so returning to
own ends of the kata. your own ends of the kata.
3. Sumi Oaeshi 2. Yoko Ouruma
You advance to normal holding distance and The start of this is almost exactly as for Ura
tben both of you assume a deep crouching stance, Nage (Set Four, no. 2, of this kata). But when
71
145
149
148
150 151
NAGE NOKATA
you come up to him, you both move to a position
facing each other across the line of the kata, he
with his back to the joseki, you facing it. You
should make this move in two steps, left right,
and simultaneously. You are at a. distance of six
feet. See Figure 151.
He now steps forwards with his left foot and
goes to strike you with his right hand, as in Ura
Nage. You dodge the blow and move in to where
you can pick him up for Ura Nage. See Figure
152.
To avoid your Ura Nage, your partner now 153
bends his body directly forwards to the front. 3. Uki Waza
You come around him and slide your right leg This is a throw from the crouching posture,
between his legs, pulling with your left hand and like Sumi Gaeshi.
pushing with your right, so as to throw him with Come in to normal holding distance, and take
the side wheel (Yoko Guruma) as described in up the deep crouch, knees bent, legs wide apart.
Set Five, no. 4, of The Gokyo. See Figure 153. Each of you keeps the same hold with left hand
After doing his right forwards rolling break- on the sleeve, but with your right you catch
fall he lies where he bas fallen for a few your opponent behind and under his left armpit.
moments and you then get up together. You go See Figure 154.
to the other end of the kata, take position across' You step back with your left foot, he follows
the axis of the kata and repeat on the other side. with his right. You step back with your right,
This brings you to your own end of the kata again. he follows with his left.
152 154
NAGE NO KATA
He remains where be has faUen until you both
get up together, go to the opposite ends of the
kata, and repeat on the opposite side. You are
now at the right ends of the kata. You turn yo ur
backs on each other and adjust your jackets.
This is not only the end of the set but also the
end of the kata and your attire must be impecc-
ably arranged for the bow.
When you have turned to face each other, you
both step back, right , left, so that your heels are
brought together.
You make the standing bow to each other.
Then , turning to face the joseki, you make the
155 standing bow to the distinguished guests.
It should again be emphasised that every
Now stretch your left foot widely to your left single detail must be correct in this sequence of
side and faU on your left side, your right foot movements. The slightest unnecessary movement,
on the ground. Let him disengage his right arm wrong turn or extra step, would count as a fault.
from your left hold on his sleeve, so that be can And probably eve ry black belt in the audience
use it to breakfaU. Throw him with the floating would notice those faults. Such perfection comes
throw (Uki Waza) as described in Set Five, no. only wi th long pract ice between partners who
2, of The Gokyo. See Figure 155. have learnt to work in complete harmony.
75
CHAPTER EIGHT
Katarne No Kata
Katame No Kata is tbe formal demonstration salutation as described in Chapter I. See Figure
of groundwork movements. Again, it was created 158.
by Professor Jigoro Kana from a study of the Having made the bow, they return to the high
ancient movements and dates from his day. kneeling position .
The techniques in this kata are grouped into Now we come to tbe kata movements. You
three sets of five movements in each set. The are Tori; your partner is Uke. Imagine, again, a
first set consists of holdings (Osaekomi Waza); straight line between you. Tbis is tbe axis of tbe
the second set of strangleholds (Shime Waza); kata. Your partner must always lie along the
and the third set of four arrnlocks and one leg- axis for your demonstration.
lock (Kansetsu Waza). To get down, he places both hands on the
As with Nage No Kata, every detail must be ground in front of him, takes his rigbt foot
accurate and there must be no unnecessary under his arms, between them and his left knee
movement. The entire procedure is performed wh ich is on the mat, and so turns onto his back.
witb dignity and respect. He tben lies flat along the axis of the kata, left
The man who does the movements is again knee up with the foot on the floor, right leg
called Tori; the one to whom it is done is called extended. See Figure 159.
Uke . Wbilst he is doing this, you remain in the high
. Tori and Uke wiII again take up the positions, kneeling position. All is now ready for tbe first
about twelve feet apart, Tori to the left of the demonstration.
joseki and Uke to the right, as viewed from the
joseki. They will stand silent, still and respectful SET ONE (HOLDINGS)
for a moment, before simultaneously making tbe 1. KesQ Gatanze
thirty degree turn to face the joseki, and to bow. Stand up. Turn to your right. Take three
See Figu re 156. steps. Turn left ninety degrees and walk down
They step forwards a pace left, right, to open to your partner's side, but tbree paces away from
their feet, then take up the high kneeling posi- him. Turn to face bim and drop into the high
tion (Tate Kyoshi No Kamae). To do this, they kneeling position. See Figure 160.
kneel on the left knee and turn the rigbt foot Advance on your left knee and right foot the
to point outwards. See Figure 157. three paces that bring you to his side. This is a
Note that in this high kneeling position the difficult mo ve ment and can only be dono. with
toes of the left foot are dug into the mat. This practjce. When you reach' him " pick up his right
is always the case in a fighting position and it is arm With your left holding his outer sleeve and
only when bowing that the toes are stretched your right his inner sleeve. See Figure 161.
out and the insteps are in contact with tbe mat. Put your right knee under his right armpit
The right hand rests on the right knee. and his right arm under your left, trapping it
From the high kneeling position , each will there, and drop into the scarf hold (Kesa
drop onto his right knee , stretch his toes out Gatame), as described in the chapter on holdings
and, crossing the big toes, make the kneeling (Chapter 4, no. I). Wben you take this holding
76
KATAME NO KATA
in your kata form, your right hand passes under
his left armpit and holds his left shoulder to
the ground. When you have taken up tbis posi-
tion, be definitely seen to relax on him, so that
he and the audience know you bave got it. See
Figure 162.
He will then try to get away by grasping your
belt with his left hand and bridging, trying
to buck you off over his left shoulder. This
manoeuvre fails and he submits by tapping with
156 157 his left hand.
2. Kala Gatame
Kneel at his side in the high kneeling position,
without going out. Pick up his right wrist in your
right hand and, by pushing on the elbow with
your left, take it across his throat. See Figure
163.
Pass your right arm under his neck from his
left side, catch the hand in your left, thrust
your right knee under his right armpit, extend
your left leg, and drop into the shoulder hold
(Kata Gatame) as described in Chapter 4, no. 2.
See Figure 164.
He will try to get away, first by bridging and
trying to turn to his left, then by trying to push
his right arm against the side of your neck with
his left and so create a gap. Each time, you
tighten your hold so that he is forced to submit
by tapping .with his left hand.
3. Kami Shiho Gatame
Take the high kneeling position at his side.
R etreat the three steps on your left knee and
right foot. Stand up. Turn at right angles to your
left. Walk parallel to and as far as the end of
the axis of the kata. Turn right and take the
three steps tbat bring you directly behind your
partner. Drop into the high kneeling position
there. See Figure 165.
Advance on your left knee and right foot
until you are directly behind his head in the
high kneeling position. Ideally, you should do
158 159 this in tbree steps. See Figure 166.
Pass both your hands under his shoulders
and grasp his belt on either side. Put your right
cheek on his stomach. Lower yourself on your
right knee and spread your knees apart. Relax
on him in the upper four quarters hold (Kami
Shiho Gatame) as described in Chapter 4, no. 4).
See Figure 167.
77
l
)
L:;;;; .J ~
-;....-~.~~
160
162 165
KATAME NO KATA
79
KATAME NO KATA
You take up the high kneeling position, re-
treat on left knee and right foot to your end of
the kat a axis and, since it is the end of a set,
you wait there.
He gets up in exactly the opposite way to that
in which he got down, ie, by rolling to his
right, putting both hands on the ground , bring-
ing his right leg between his hands and his left,
and rising to the bigh kneeling position.
You are both facing each other now in the
high kneeling position at your respective ends of
the kata axis. You pause to adjust your jackets
in readiness for the next set.
80
\
l
82
KATAME NO KATA
-
his elbow joint towards you. Catch his wrist with
both hands, put your right shin close against his
~
right side, lift your left leg and take it across
his throat, putting the foot on the ground the
other side of him, and fall back. Keep your
knees togelher, hold his wrist to your chest and
slightly raise your stomach . You will be doing
the cross armlock (Juji Gatame) in the third
variation of it, as described in Chapter 5, no. I.
See Figure 185. 184
He arches his body and tries to bend back to
relieve pressure, but it is useless and he taps in
surrender with his left hand.
Return to the high kneeling position at his
right side, without going out.
3. Ude Hishigi Ude Galarne
With both hands, move his right arm to your
left side, that is out at right angles to his body.
He now turns slightly on his right side and
reaches up with his left arm to try and grasp
your right lape\. See Figure 186.
84
Press your right knee against his left side.
Clasp your hands over his elbow joint, turning
it away from your body, and pull the joint in
towards your chest. Press down on his wrist with
your right shoulder. You will be doing the arm
crush (Ude Gatame) as described in Chapter 5,
no. 3. See Figure 187.
He will give in without a struggle, and indicate
this by tapping. Take up the high kneeling posi-
tion at his side and from there back out as
normally, stand up and return as usual to your
end of th e kata axis. Take the high kneeling
position and he will get up to the same position
as if the kata had ended.
185
4. Ude Hishigi Hiza Galame 186
Approach each other on left knee and right
foot un til you are near enough to take the
normal holds on each other, ie, on sleeve and
lapel , as if yo u were standing up. See Figure 188.
Let go his right sleeve with your left hand
and, putting your arm over his wrist and your
hand under his arm, grasp the upper part of his
sleeve from above. The effect of this is to trap
his right wrist under your left armpit. Apply
your right fOOL to his left thigh , on which he is
kneeling. See Figure 189.
Push with your right foot to take hinl down,
turn on your right side and bring your left knee
up onto his right elbow joint so that you can
apply the knee armlock (Hiza Gatame) as des-
cribed in Chapter 5, no. 4. See Figure 190.
He taps with his foot to give in.
5. A shi Garami
After his submission, take the high kneeling
position and he will do the same. You both then
retreat on left knee and right foot until you are
six feet apart. Then you both stand up. Move 187
close enough to take the normal holds, beginning
with the left foot.
You now slide your left foot between his legs,
raise your right leg and put it in his stomach, as
though you were going to perform the stomach
throw (Tornoe Nage). See Figure 191.
To avoid this move, he will step well forwards
with his right leg, to your left side. Take your
left leg around this from the outside and put
your left foot in his right groin. See Figure 192.
Now, with your right leg push his left away
at the knee so that he falls onto his left knee.
Push your left strongly through in front of his
I
-)
190
192 193
CHAPTER NINE
Kime No Kata
Kim e No Kata is a kata of self-defence move- weapons in his right hand, stann.s up, tu rns
ments. It is sometimes called Shinken Shobu No aboul. goes to the end of the kata axis, kneels
Kata , or forms of real fighting. There are two and lays down his sword and dagger. Note that
divisions. The first set consists of eight move- when he kneels to do this, as when he bows, his
ments and is called Idori. These are all performed toes are extended and not dug into the mal. See
in a kneeling position. The second set is called Figure 196.
Tachiai and consists of twelve movements per- Again the sword is placed outside at right
formed in a standing position. angles to the axis of the kata, and the dagger
Some of the movements use the sword, which inside with the guards towards the joseki and
is the long samurai two-handed sword. Others the points away from it. Again , the curve of the
use the dagger, a shorter and more personal blade is towards Uke.
weapon. Before practising with either of these Having ceremoniously laid his weapons down,
weapons, which are· razor sharp, learn the move- Uke takes the high kneeling position and both
ments thoroughly with imitation weapons. For he and Tori then rise together. He turns to face
when the kat a has been mastered and is per- Tori and they advance until they are about three
formed in earnest the attacks must be real and feet apart. Then both assume first the high
you must be able to get out of the way. kneeling position, then the kneeling position, on
Tori is on the left of the joseki and Uke on both knees. Their toes are still extended at this
the right as before, as viewed from the joseki. point. Both place their clenched fists on the
Uk. holds the two weapons in bis right hand at ground, just inside their knees and, taking sup-
this stage. He will transfer them to his left side port on these, they advance on their knees until
only when he is going to use them . He holds they are about six inches apart. See Figure 197.
the dagger on lap, the sword underneath, with They are now in position for the first set of
the guards in front and on top, the points behind movements, Idori.
him and hanging down. A wo rd should perhaps be said bere about this
They begin twelve feet apart, with the usual seated position, as it appears rather artificial to
standing salutation to the joseki. See Figure 194. western eyes. It was the normal seated position
They then take the high kneeling position as of the Japanese in older days when houses did
described in the last chapter and Uke lays down not have chairs and people sat on cushions on
his weapons by his right side, parallel to the axis the fioor. It would therefore be as natural a
of the kata, with the guards to the front and the posture as sitting in a chair to a Westerner.
points behind him. The sword is laid on the out- Practice of it, as in this kata, strengthens tbe
side, the dagger on the inside. The curve of the ankle joints and makes tbem more supple, so
blade is in towards him. They then lower their that it is a beneficial exercise in itself.
right knees simultaneously and make the formal There should be a brief pause at this moment,
kneeling bow to each other. See Figure 195. and the two partners should take a few deep
They now resume the high kneeling position breaths to concentrate their attention on what
and while Tori retains this, Uke picks up his they are about to do.
87
KIMENOKATA
From this point on we will again assume that
you are Tori (the man who does the demonstra-
tion), and your partner is Uke (the one to whom
it is done). However, in this kata Uke is going
to take the initiative every time and your action
will be the response to his attack on you.
88
198 200 201 199
., a
202
,J
j / ,
~l
206 208 209 207
KIMENOKATA
punch. To avoid the punch, you pivot on your R aise your hands. With the palm of your right
left knee, digging your toes in and raising yOUT hand ward off his blow by catchi ng his wrist and
h.ips, and take yo ur right foot back around with your left hand catch his right armpit with
behind you, so that you aTe facing parallel to a normal hold, fingers at the back of him , thumb
the axis of the kata. This takes you out of the under the armpit. Kick him in the solar plexus
way of the punch as it is following the axis line with the ball of you r right foot , accompanied by
of the kata and your tum has placed you just the kiai. See F igure 204.
behind this line. As you do th is, you come up Having delivered tbe kick, bring your right
on the right foot, right knee raised. foot back and widely round behind you. Stretch
Now, as you are doing this turn, you must out his right arm , bringing him onto his face.
catch your partner's right wrist with yo ur left Keep you r left knee close to his body and hold
hand, th e fingers towards you, the thumb th e his rigbt shoulder down with your left band.
other side, and with yo ur right fist strike him Once you have control of him, kneel on his right
between the eyes. Your left-hand pull on his elbow joint with your left knee. Do this very
wrist forwards and the impetus of his own punch carefully in the demonstration, otherwise you
are pulling him onto this punch of yours, wh.ich will dislocate the joint before he has time to give
is deli vered to the accompaniment of the kiai. in. See Figure 205.
See Figure 201. He submits. Return to the formal kneeling
Be very careful , however, n ot to land the position as at the beginning of this movement.
blow, for it is one that can kill. 4. Yoko Uchi (Blow at the Temple)
Having launched the blow, catch his right This agai n, is one of the atemi blows taken
wrist with your rigbt hand from above in a over by karate. Your partner comes up on his
normal grip and continue pulling the arm across toes as before, raising his hips, and tries to strike
your body. Put your left hand over his left a blow at you r left temple with the bottom of
shou lder and catch his right lapel, as deeply in his r igh t fist. See Figure. 206.
as possible. Straighten up and push your stomach To avoid this, come up on the toes of your
forwards against his right elbow. This is a straight left foot , bring your right foot, knee up, in close
arm lock in which the pressure is applied with to the outside of his right k nee, and duck your
your stomach , and it is caIled 'Haragatame'. At head under his right armpit. With your right
the same tim e, of course, yo u are strangling him hand push his left shoulder, you r own right
with his right lapel pulled back against his shoulder being agai nst his right. With your left
throat by your left hand. See F igure 202. hand push in the left lower region of his back.
This stomach arm lock features in many of See Figure 207.
the defences, so practise it well. Your partner From this position you can take h.im over onto
will submit by tapping. his back and have him in the shoulder hold
Return to the formal kneeling posture, as at (Kata Gatame) position as described in Chapter
the beginning of the movement. 4, no. 2. See Figure 208.
3. Suri-Age (Thru st at the Forehead) Now block his right arm ac ross his throat by
Your partner rises onto his toes, toes dug into pushing on the elbow with you r left, and with
the mat, and tries to strike a blow at your fore- you r right elbow strike him a blow in the solar
head with the heel of his hand. His fingers are plexus, accompanying it with the kiai. See
togeth er and the blow is what is known in karate Figure 209.
as lhe palm heel strike (teisho). It could alterna- Return to the forma l kneeling position.
tively be at the chin or under tbe base of the 5. Ushiro Dori (Shoulder Seizure from behind)
nose, and some masters teach each of these Your partner rises, walks round behind you
variations. Th e object is to jerk your head back and kneels close to your body. He raises his right
and dislocate your neck. Slightly bend yo ur body knee, comes up on his left toes, and attempts to
backwards so that the blow would pass you, encircle you r sboulders with his arms. His head
come up onto your toes and raise your hips. See is kept close to the right side of you rs to prevent
Figure 203. your hitting him in the face with a sudden back-
92
wards movement of your own head. See Figure
210.
Come up onto your toes. Seize his left arm
with both yours, drive your right leg through his
behind him, and throw him over your left
shoulder with the shoulder throw by rolling to
you r left. See Figure 211.
Hold bim down with your right arm across
his body and with your left fist hit him in the
testicles. But be careful not actually to land the
blow, of course. See Figure 212.
The blow is accompanied, as usual, with the
kiai. If the assailant were a woman, the blow
would be aimed two inches below her navel, at
the hypogastrium, or at one of her breasts.
You both now rise to your feet and your
partner goes to the end of the kata axis where
he has left his weapons. As he kneels down to
pick one up, you kneel down simultaneously
with him. He picks up the dagger and conceals
it inside his jacket. See Figure 213.
6. T suki Komi (Thrust with Dagger at Stomach)
He returns and takes the formal kneeling
position facing you, but abou t two feet away.
The dagger is inside his left jacket so that he
can pull it out with his right hand. He draws it 210 211
and takes it back for the thrust. See Figure 214.
In making the thrust, he comes up on his left
foot, raising the knee and stepping forwards,
and rises on his right toes.
You raise your right knee, come onto your left
toes, and take your body and right foot round
to a position parallel with the axis of the kata
so that the thrust, being directly down the axis
of the kata, would pass just in front of you. The
other movements are exactly as for the stomach
punch (Tsuki Kake), as described in no. 2 of this
series. You catch his right wrist with your left
hand and deli ve r a blow between the eyes with
your right fist. See Figure 215.
Be very careful not to catch too soon or you
will grab the blade of the dagger, which would
be disastrous. Let it go by yo u before yo u catch.
Having struck the blow, accompanied by the
kiai, change hands. Catch his wrist with your
right and continue pulling him forwards off
balance. Take your left hand over his left
shoulder and, grasping his right lapel as far in
as you can, apply the stomach armlock and
stranglehold combined. See Figure 216.
212 214 215 213
He will give in by tapping. You then return
to the formal kneeling posture two feet apart
a nd your opponent replaces the dagger in its
sheath.
It should again be emphasised that all these
dagger thrusts, and the sword movements which
come later, must first be thoroughly practised
with imitation weapons, for the real ones are
highly dangerous.
7. Kiri Komi (Direct Down Cut at Head with
Dagger).
Your part ner unsheathes his dagger and raises
it above his head to make a direct down cut at
your head. See Figure 217.
216
In making the cut, he will come up on his left 217
toes and this time raise his right knee. He will
take a step forwards with his right foot as he
stri kes.
Come up onto your left toes, raise your right
knee and make the usual turn to your right so
that yo u are parallel to the axis of the kata and
th e cut passes down in front of you. Catch his
right wrist with your right hand and pass your
left arm over his right arm, imprisoning it under
your left armpit. Pull him off balance, let your
left hand join your right at his wrist and your
left forearm press down on his elbow joint, so
that yo u have an armlock on his righ t elbow
joint. See Figure 218.
H e will give in and replace the dagger in its
sheath , whe reupon you return to the origin al
position.
8. Yoko Tsuki (Dagger Thrust from Side)
Your partner gets up and comes to your right
side about eight inches away, kneels and un-
sheathes the dagger. He rises on his right toes,
lifts his left knee and takes the dagger back, 218
ready for the stri ke at you r side. See Figure 219.
You have to do an about face turn to avoid
this, raising your right knee and pivoting on
your left. You will then be facing the other way
round and parallel to the axis of h is strike, which
is at right angles to the axis of the kata.
As yo u complete th e turn, catch his right
wrist with yo ur left ha nd and pull him forwards
into a right-handed pun ch between the eyes. See
Figure 220.
The punch is accompanied by the kiai. Change
hands, catch his right wrist with your right, and
pass your left hand over his left shoulder so as
to execu te the com bined stomach arm lock and
stranglehold, as in the stomach thrust described
in no. 6 of this series. See Figure 221.
He will submit.
You now stand a nd keep perfectly still, facing
the far end of th e kata axis, while your partner
takes th e dagger there in its sheath, kneels and
puts it down exactly where he picked it up. He
will then rise and come to face you, standing
about a foot away, ready for the next se ries.
~r
KIMENOKATA
233
236 238 239 237
Turn, by stepping through with your left foot ,
and throw him with the fioating loin throw (Uki
Goshi) applied to h;s left side. See Figure 236.
The tbrow is described on the more normal
right-hand side in Set One, no. 4, of the Gokyo.
6. Y oko Vehi (Blow at Temple)
You stand about four feet apart. Your partner
swings his right fist back with the intention of
hitting you on the side of tbe temple. See Figure
237.
As he strikes he will advance his right foot.
Sink your body, step to your left with your left
foot and let the blow go over your right shoulder.
As you do so, grasp his left lapel with your right
hand, thumb inside. See Figure 238.
Step round behind him, pass your left ha nd
over his left shoulder, catch his right lapel and
apply the sliding collar (Okuri Eri) as described
in Chapter 6, no. 5, except that this time you are
doing it wit h the opposite hands. See Figure 239.
You must bring him off balance backwards as
you apply the stranglehold , and you must move
in very quickly indeed.
H e will tap in submission.
7. K e Age (Kick at the Testicles)
You stand about four feet apart and your 244 245
partner tries to kick yo u in the testicles with
his right foot. Turn your body by stepping back
with your right foot, so that you are parallel to
the axis of the kata, and the kick will go past
you. See Figure 240.
Now, catch his ankle with both hands and
take it to his right. Step back round to face b;m .
See Figure 241.
Kick him in th e testicles with your right foot ,
just as he was tr ying to do to you. See Figure
242.
Be careful not to land the kick, of course.
8. Vshiro Dori (Shoulder Seizure from Behind)
You stand in the normal position about three
feet apart. Your partner then walks round
behind yo u. You start to advance, but he comes
up quickly and seizes you round the shoulders.
See Figure 243.
The moment before he actually clasps his
hands in front of you, drop onto your right knee,
catch his right arm with both yours, and insert
your right shoulder under his right armpit. See
Figure 244.
You can now do tbe shoulder throw (Seoi
KlMENOKATA
r
right sleeve with your left hand. See Figure 246.
Accompa ny the blow with the kiai.
Stand perfectly still now, facing down the line
of the kata to your partner's end as he goes
there, kneels down and picks up his dagger. He
then comes back to face you, standing about
four feet away.
9. T suki Komi (Stomach Thrust with Dagger)
Your partner steps forward with his left foot
and takes the dagger back to thrust it into your
stomach. See Figure 247.
Step back and around with your right foot,
turning so that the thrust goes past you, because
you are parallel to the axis of the kata and the
thrust is directly along the axis. Catch his right
wrist with your left hand, pull forwards , and
with your right hand deliver a punch between
his eyes, accompanying it with the kiai. See
F igure 248.
When making the thrust, he will, of course, 247 248
have stepped forward s with his right fool. Now
change hands. Hold his wrist with your right and
pass yo ur left over his left shoulder to obtain
the combined stomach arm lock and stranglehold
as in the same attack from the kneeling position
(no. 6 in the last series). See Figure 249.
246
10. Kiri K omi (Direct Down Cut at Head with
Dagger)
You are about five feet apart. Your partner
again unsheathes his dagger and, advancing his
right foot, tries to cut directly down at your
head. See Figure 250.
Take your right foot back and turn, so that
being parallel to the axis of the kat a the strike
will pass down in front of yo ur body. Take your
left arm over his right arm, trapping it under
your left armpit, and catch his right wrist with
your right hand. See Figure 251.
Turn a little more and bear down on his elbow
joint with your left armpit as you lift his wrist 250
with both hands, being sure to get the little Step behind him with your left foo t. Pass
finger edge uppermost. You will have a straight yo ur left band over his left shoulder and catch
arm lock on his right elbow joint. See Figure 252. his right collat as high up as yo u can. Now slide
He will give in, and indicate this by tapping. yo ur right arm under bis right armpit and up
Stand perfectly still, facing your partner's end behind his neck, taking him off balance back-
of the kata. He will go and kneel down to replace wards as you do so. You will be applying the
his dagger. Then he will pick up his sword and, single wing necklock (Kata H a Jime) as described
taking the bigh kneeling position, tie the sheath in Cbapta 6, no. 6, but of course you will be
to his left belt with the string provided for that doing it from a stand ing posi tion and witb the
purpose. He will rise and come to face you at opposite hands to the demonstration described
a distance of about six feet. in that chapter. See Figure 255.
11. Nuki Kake (Sword Unsbeathing) He will tap in submission.
Holding the top of the sheath with his left It should be noted tbat the sword is worn with
hand, he attempts to draw the sword with his the edge upwards.
right. See F igure 253. 12. Kiri Oroshi (Direct Down Cut at Head with
As he does so, he advances his rigbt foot. You Sword)
advance your right foot to meet his, and with You are ten feet apart. Your partner un-
your right hand, fingers above and thumb below, sheathes the sword. He can at this point either
you block his right wrist. See Figure 254. wear the sheath tied to his belt as before, or be
can lay it on the ground at his left side. He takes
a half pace forward with his righ t foot a nd holds
~49
the sword with both hands, rigbt hand higber
than the left. The point of the sword is directed
upwards to the level of your eyes. See Figure
256.
This position is known as Chudan, the 'on
guard' position in Japanese fencing. He then
raises tbe sword above bis bead, steps forwards
with left foot , then the rigbt, and brings it down
to cut directly down on your head. See Figure
257.
Step back with your right foot , turning your
body so tbat , being parallel to tbe axis of tbe
kata, tbe cut will pass down in front of your
body. Catch his right wrist with your right hand
after the sword passes and pull him forwards off
105
L~~·~~~:3:;:.L---===::
251 253 254
balance. Pass your left arm over his left shoulder
and catch his right collar high up. You are then
in a position to execute the stomach armlock
combined with the stranglehold that we have
met with before, in the stomach thrust with
dagger (Tsuki Komi) as described in no. 9 of this
series. See Figure 258.
He taps to signal his submission.
This being the end of the kata, he transfers
the sword in its sheath to his right hand and
walks to his end of the axis while you remain
standing motionless at your end. He takes the
high kneeling position facing away from you,
kneels completely, picks up his dagger, also in
his right hand, and holding it on top and the
sword underneath, rises, first to the high kneel-
ing position, then to his feet, and turns to face
you.
Together you go down to the high kneeling
position, then onto your knees, feet extended,
big toes crossed. He lays down the weapons at
~55
258
his right side, exactly as before. You both per- will be found to be engraved with the maker's
form the kneeling salu tation. See Figure 259. marks. Possibly even a document will be enclosed
As you rise together, he picks up his weapons, there, giving the history of the sword.
and you both turn to the joseki to make the Seven attacks on ly were made with the sword,
standing bow. six of them cuts. These six were directly down at
This particular kata dates from the sixteenth the head, as in the last item of the kata; diagon-
century and the samurai swords used were made ally down at the neck on either side; at either
of steel, single edged, curved and tempered. wrist, to chop the hand off; and upwards on the
Some of the best swords were produced between left side through the ribs to the heart. The only
AD 900 and 1530, after which there came a thrust was to the throat, made with the point.
peaceful period in Japanese history, and the art The dagger was used single-handed in the
of sword making began to decline. In the modern same way, but also to stab at the stomach. It was
period, from 1868 onwards, sword makers turned the dagger that wo uld be used in the ritual
to ordinary blacksmith's work. suicide, known as seppukku.
The older swords made by craftsmen can be One final point about the katas. They must
distinguished from the modern machine-made be practised in the roles of both Tori and Uke.
sword in that the temper line, about half an inch Uke's part is just as difficult , if not more so, than
from the cutting edge, is wavy on the hand-made Tori's and it is only by complete co-operation
ones and straight on the machine-made ones. between the two partners that a perfect
The handle can be removed, and that part of the performance can be given.
blade which extends inside the handle (the tang)
108
Acknowledgments
The photographs in this book were taken
by Mr Don Watkins.
The movements are being demonstrated by
Mr Raymond Williams, Mr Paul Jordan
and the author.
Index to Movements
THROWS
GROUNDWORK
III
BREAKFALLS
Page Page
Mae Ukemi. 15 Yoko Ukemi. 15
Ushiro Ukemi. 15 Zempo Kaiten Ukemi. 15
..
112